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A DESCRIPTIVE  CATALOGUE  OF 
THE  PICTURES  IN  THE 

JARVES  COLLECTION 

BELONGING  TO  YALE 
UNIVERSITY 


PUBLISHED  UNDER  THE  AUSPICES 
OF  THE 

SCHOOL  OF  THE  FINE  ARTS 


YALE  UNIVERSITY 


A DESCRIPTIVE  CATALOGUE  OF 
THE  PICTURES  IN  THE 

JARVES  COLLECTION 

BELONGING  TO  YALE 
UNIVERSITY 


By  OSVALD  SIREN 


Professor  of  the  History  of  Art 
University  of  Stockholm 

N 

5^0 

55 


NEW  HAVEN:  YALE  UNIVERSITY  PRESS 
LONDON:  HUMPHREY  MILFORD 
OXFORD  UNIVERSITY  PRESS 
1916 


COPYRIGHT,  1916 
By  YALE  UNIVERSITY  PRESS 


Published  October,  1916 

Seven  Hundred  Fifty  Copies  Printed  from  Type 


the  j.  PAUL  GETTY  MUSEUM  Ul 


CONTENTS 


PAGE 

Introduction  .........  xvii 

XIV  Century 

Tuscan  Schools  (Lucca,  Florence,  Pisa,  Siena,  Arezzo)  . 3 

Tuscan  Schools  (Florence,  Siena)  .....  21 

XV  Century 

Florentine  School  ........  67 

Sienese  School  .........  151 

Central  Italian  Schools  .......  167 

North  Italian  Schools  .......  179 

XVI  Century 

Florentine  School  ........  185 

Sienese  School  .........  217 

Central  Italian  Schools  .......  223 

North  Italian  and  Venetian  Schools  .....  229 

XVII  Century 

Late  Italian  Schools  ........  245 

Non-Italian  Schools 

Italo-Byzantine  Schools  .......  259 

Dutch  and  Flemish  Schools  ......  269 

Index  ..........  281 


[ vii  ] 


LIST  OF  ILLUSTRATIONS 


72.  Portrait  of  a Lady  Holding  a Rabbit  (for  description 

see  page  185)  ......  Frontispiece 


XIII  Century  (Dnegento) 


FACING  PAGE 


Tuscan  Schools  (Lucca,  Florence,  Pisa,  Siena,  Arezzo) 

Bonaventura  Berlingliieri 

1.  The  Descent  from  the  Cross ; The  Pieta,  or  Mourning 

over  the  Body  of  Christ  ......  4 

Guido  da  Siena 

2.  The  Crucifixion  .......  8 

Margaritone  d ’Arezzo 

3.  Madonna  Enthroned,  between  Saint  Peter  and  Saint 

Leonard  ........  12 

Deodato  Orlandi 

5.  Madonna  and  Four  Saints  .....  16 


XIV  Century  (Trecento) 

Tuscan  Schools  (Florence,  Siena) 

Bernardo  Daddi 

6.  The  Vision  of  Saint  Dominic  .....  22 

Taddeo  Gaddi 

8.  The  Entombment  .......  28 

Romagnole  Follower  of  Giotto  (Beginning  of  the  XIV 

Century) 

9.  Small  Triptych  .......  30 

Follower  of  Duccio  (Beginning  of  the  XIV  Century) 

10.  Small  Diptych  Representing  the  Madonna  and  the 

Crucifixion  .......  32 


[ ix  ] 


LIST  OF  ILLUSTRATIONS 


Simone  Martini 

11.  Saint  Martin  Dividing  His  Mantle  with  a Beggar  . 36 

Luca  di  Tomine 

12.  Assumption  of  the  Virgin  .....  38 

Andrea  di  Cione,  Called  Orcagna 

13.  Saint  Peter  ........  40 

14.  Saint  John  the  Baptist  .....  40 

15.  Adoration  of  the  Magi  ......  42 

Jacopo  di  Cione 

16.  Madonna  Surrounded  by  Four  Saints  ...  44 

18.  The  Holy  Trinity,  with  Four  Saints  in  Adoration  . 46 

Giovanni  del  Biondo 

19.  Christ  and  the  Virgin  Enthroned,  Attended  by 

Music-making  Angels  ......  48 

Gherardo  Stamina  (?) 

20.  Saint  Michael,  Saint  James  and  Saint  Julian  . . 52 

Niccolo  di  Pietro  Gerini 

21.  The  Annunciation  ......  56 

Ambrogio  di  Baldese 

22.  Triptych  Representing  the  Madonna  with  Four 

Saints  ........  60 

XV  Century  (Quattrocento) 

Florentine  School 
Lorenzo  Monaco 

24.  The  Crucifixion  .......  66 

25.  Saint  Francis  Receiving  the  Stigmata  ...  68 

Lorenzo  di  Niccolo 

26.  A Triptych  ........  70 

27.  Altar  Wing 72 

28.  Altar  Wing  .......  74 

Mariotto  di  Nardo 

29.  Scenes  from  the  Legend  of  Saints  Cosmo  and 

Damian  ........  76 

[ x ] 


LIST  OF  ILLUSTRATIONS 


Giovanni  dal  Ponte 

30.  San  Giovanni  Gualberto  and  His  Enemy  before  the 

Crucifix  in  San  Miniato  A1  Monte  . . . . 78 

Andrea  di  Giusto 

31.  Three  Saints : Saint  Zenobio,  Saint  Francis  and 

Saint  Anthony  .......  80 

Florentine  Painter  about  1440 

33.  Tournament  in  the  Piazza  Santa  Croce,  Florence 

(Cassone)  ........  84 

Florentine  Painter  about  1450 

34.  Incidents  from  the  History  of  iEneas  and  Dido  . 88 

35.  Further  Incidents  from  the  History  of  Hilneas  and 

Dido 88 

Florentine  Painter  about  1450 

36.  The  Visit  of  the  Queen  of  Sheba  to  Solomon  . . 92 

Master  of  the  Carrand  Triptych 

37.  Scenes  from  the  Life  of  a Holy  Hermit  ...  94 

Follower  of  Andrea  del  Castagno 

38.  The  Dormition  of  the  Virgin  ....  98 

Neri  di  Bicci 

39.  Saint  Nicholas  Throwing  Balls  of  Gold  to  the 

Daughters  of  the  Poor  Nobleman  ....  100 

Giusto  d ’Andrea 

40.  The  Annunciation  ......  102 

Alesso  Baldovinetti 

41.  Scene  from  the  Infancy  of  a Saint  . . . 108 

Antonio  Pollajuolo 

42.  The  Rape  of  Deianira  ......  112 

Florentine  Drawing,  End  of  the  XV  Century 

(Copied  from  Antonio  Pollajuolo ’s  picture  in  the  Jarves 
Collection)  ........  114 

Florentine  Drawing,  End  of  the  XV  Century 

(Probably  suggested  by  reliefs  on  Roman  sarcophagi)  . 116 


[ xi  ] 


LIST  OF  ILLUSTRATIONS 


Follower  of  Fra  Filippo  Lippi 

43.  Madonna  Surrounded  by  Angels  and  Saint  Cath- 
erine .........  120 

Francesco  Botticini 

44.  Penance  of  Saint  Jerome,  and  Saint  Francis  Re- 
ceiving the  Stigmata  ......  122 

Follower  of  Francesco  Pesellino 

45.  The  Virgin  Adoring  the  Christ  Child  . . . 126 

Jacopo  del  Sellajo 

46.  Madonna  Seated  on  Clouds  .....  128 

47.  Saint  Sebastian  .......  130 

48.  Actaeon  and  the  Hounds  .....  132 

49.  Creation  of  Adam  and  Eve  .....  134 

Pupil  of  Sandro  Botticelli 

50.  Madonna  of  the  Pomegranate  ....  136 

Pseudo-V  errocchio 

51.  The  Crucifixion  .......  138 

Domenico  Ghirlandajo 

52.  Portrait  of  a Lady  ......  140 

Bartolommeo  di  Giovanni 

53.  Saint  Jerome  Doing  Penance  ....  142 

Follower  of  Lorenzo  di  Credi 

55.  The  Baptism  of  Christ  .....  146 

Filippino  Lippi 

56.  Christ  on  the  Cross  . . . . . . 150 

Sienese  School 

Stefano  di  Giovanni,  Called  Sassetta 

57.  Saint  Anthony  Tempted  by  the  Devil  in  the  Shape 

of  a Woman  .......  152 

58.  Saint  Anthony  Tormented  by  Demons  . . . 154 

Giovanni  di  Paolo 

59.  Saint  Catherine  of  Siena  Pleading  before  Pope 

Gregory  XI  .......  156 


[ xii  ] 


LIST  OF  ILLUSTRATIONS 


Sano  di  Pietro 

60.  Coronation  of  the  Virgin  .....  158 

61.  The  Adoration  of  the  Magi  .....  92 

Neroceio 

63.  The  Annunciation  ......  162 

Benvenuto  di  Giovanni 

64.  Madonna  with  the  Child  and  Two  Angels  . . 164 

Girolamo  di  Benvenuto 

65.  Love  Bound  by  Maidens  .....  166 

Central  Italian  Schools 

Gentile  da  Fabriano 

66.  Madonna  ........  168 

Follower  of  Gentile  da  Fabriano 

67.  The  Garden  of  Love  ......  84 

Fiorenzo  di  Lorenzo 

68.  Saint  Jerome  Doing  Penance  ....  176 

Luca  Signorelli 

69.  The  Adoration  of  the  Magi  .....  178 

North  Italian  Schools 

Michele  di  Matteo  Lambertini  ( ?) 

70.  The  Deposition  from  the  Cross  ....  180 

Girolamo  da  Cremona 

71.  The  Nativity  .......  182 


XVI  Century  (Cinquecento) 

Florentine  School 
Piero  di  Cosimo 

72.  Portrait  of  a Lady  Holding  a Rabbit  . Frontispiece 
Ridolfo  Ghirlandajo 

73.  Madonna  Enthroned  between  Saint  Jerome  and 

Saint  Dominic  .......  190 

Francesco  Granacci 

74.  Pieta 192 


[ xiii  ] 


LIST  OF  ILLUSTRATIONS 


Andrea  del  Sarto 

75.  Madonna  and  Child  ......  194 

Franciabigio 

76.  The  Three  Archangels  ......  196 

Fra  Paolino 

77.  An  Angel  with  Hands  Crossed  on  the  Bosom  . . 198 

Battista  Naldini 

81.  Adoration  of  the  Magi  ......  204 

School  of  Agnolo  Bronzino 

85.  Portrait  of  Dante  ......  212 

Sienese  School 
Manner  of  Sodoma 

88.  Madonna  with  the  Child  Accompanied  by  the  Little 
Saint  John,  Saint  Catherine  and  San  Bernardino 
of  Siena  ........  218 

Beccafumi 

90.  Saint  Catherine  of  Siena  Swooning  . . . 222 

Central  Italian  Schools 

Girolamo  Marchesi  da  Cotignola 

91.  Saint  Sebastian  .......  224 

Bertncci 

92.  Madonna  with  the  Little  Saint  John  and  Four 

Saints  ........  226 

Sinibaldo  Ibi 

93.  The  Baptism  of  Christ  .....  228 

North  Italian  and  Venetian  Schools 

Francesco  Bissolo 

94.  Madonna  between  Saint  John  the  Baptist  and  Saint 

Mary  Magdalen  .......  230 

Giovanni  Cariani 

95.  The  Circumcision  of  Christ  .....  232 

Girolamo  da  Santa  Croce 

97.  Saint  Peter  .......  236 


[ xiv  ] 


LIST  OF  ILLUSTRATIONS 


School  of  Dosso  Dossi 

98.  Portrait  of  a Lady  ......  238 

Paolo  Farinati 

100.  Christ  in  Glory  Appearing  to  Saint  Peter  and 

Saint  Paul  .......  242 

XVII  Century  (Seicento) 

Late  Italian  Schools 
Guido  Reni 

102.  Venus,  Juno  and  Minerva  with  Cupid  . . . 246 

Italian  Painter  from  Latter  Part  of  the  XVII  Century 

106.  Portrait  of  Pope  Clement  IX  ....  252 

Non-Italian  Schools 

Italo-Byzantine  Schools 
Italo-Byzantine  Painter  (XV  Century) 

113.  The  Descent  of  Christ  into  Limbo;  the  Transfigu- 
ration ; and  the  History  of  Moses  . . . 266 

Dutch  and  Flemish  Schools 
Marinus  van  Roymerswaele 

114.  Head  of  the  Dead  Christ  .....  270 

Cornelis  Engelbrechtsz 

115.  The  Procession  to  Calvary  .....  272 


[ xv  ] 


INTRODUCTION 


A complete  narrative  of  the  formation  of  the  Jarves  Collec- 
tion and  its  vicissitudes  might  easily  develop  into  the  funda- 
mental chapter  of  a History  of  Art  Collecting  in  America. 
Such  a work  would  be  well  worth  writing,  but  it  cannot  be 
undertaken  within  the  limits  of  an  introduction  to  a catalogue. 
I can  here  give  only  an  outline  of  the  main  facts,  and  must  leave 
the  elaboration  of  the  subject  to  some  one  who  is  prepared  to 
undertake  the  interesting  task  of  describing  how  the  habit  of 
picture  collecting  began  in  America  and  in  the  course  of  fifty 
odd  years  gradually  became  one  of  the  most  striking  manifesta- 
tions of  the  cultural  life  of  the  rich  in  this  country.  Material 
for  such  a history  is  by  no  means  lacking. 

Fortunately,  a good  deal  was  written  about  the  Jarves 
pictures  when  they  were  first  brought  over  from  Europe  and 
exhibited  in  New  York  and  New  Haven.  Information  which, 
owing  to  the  death  of  Mr.  Jarves  and  others  concerned,  would 
otherwise  be  unattainable,  is  therefore  available  in  various 
newspaper  articles  of  that  period.  Some  of  these  were,  of 
course,  mere  journalistic  accounts  of  what  were  considered  the 
most  important  contents  of  the  collection,  while  others  throw  a 
vivid  light  not  only  on  Mr.  Jarves’  own  activities  and  experi- 
ences as  a collector,  but  also  on  the  attitude  of  the  American 
public  toward  such  a startling  novelty  as  a large  collection  of 
early  Italian  paintings.  Particularly  interesting  are  the  arti- 
cles written  by  Clarence  Cook  in  the  New  York  Tribune , the  first 
as  early  as  1868,  and  others  in  1871,  on  the  occasion  of  the  final 
sale  of  the  Jarves  pictures.  Other  contemporary  articles  by 

[ xvii  ] 


INTRODUCTION 


C.  H.  Moore  in  tlie  Boston  Evening  Transcript,  and  by  less 
known  writers  in  some  of  the  New  York  papers  to  some  extent 
confirm  the  impressions  we  receive  from  Cook’s  most  important 
articles,  and  contribute  in  addition  estimates  of  the  value  of 
the  pictures  and  suggestions  of  acquisition  by  some  public 
museum. 

The  Jarves  pictures  were  brought  over  to  America  in  1860 
and  first  exhibited  in  the  so-called  “Institute  of  Fine  Arts”  or 
the  Derby  Gallery,  625  Broadway,  New  York.  The  catalogue  of 
this  exhibition  was  written  by  Mr.  Jarves  himself  and  contained 
145  numbers.  It  has  a fundamental  importance  because  it  is  the 
first  publication  concerning  the  Jarves  pictures,  and  the  attri- 
butions here  proposed  have  remained  practically  unshaken  up 
to  quite  recent  times.  In  the  same  catalogue  furthermore  sev- 
eral documents  written  by  some  of  the  best  known  European  art- 
critics  of  that  time,  such  as  A.  F.  Rio  of  Paris,  Sir  Charles  East- 
lake,  Emilio  Bucci  of  Florence,  C.  C.  Blake  of  London,  and 
others,  were  published  in  order  to  impress  upon  the  American 
public  the  extraordinary  importance  of  some  of  the  pictures  in 
this  collection. 

The  publication  was,  in  fact,  quite  “up-to-date”  for  that 
time,  and  the  methods  employed  by  Jarves  in  establishing  the 
names  for  the  pictures  were,  after  all,  not  so  very  unlike  those 
which  are  still  in  vogue  among  art-critics  and  historians. 
He  states  in  the  preface  that  the  catalogue  is  “the  result 
of  the  best  available  criticism  based  chiefly  upon  internal 
proof,  sustained,  where  it  exists,  by  collateral  documentary  evi- 
dence or  trustworthy  tradition.  The  author  has  conscientiously 
and  studiously  followed  this  system,  aided  by  European  criti- 
cism; and  the  catalogue,  as  it  now  appears,  is  the  result  of 
several  years’  patient  and  close  inquiry.” 

It  would  be  unfair  to  blame  Jarves  for  shortcomings  in 

[ xviii  ] 


INTRODUCTION 


regard  to  attributions  which  are  no  worse  than  those  given  in 
the  catalogues  of  European  galleries  of  that  time.  It  is  less  his 
fault  than  the  fault  of  the  general  standards  and  methods  of 
art  criticism  of  the  middle  of  the  XIX  century  that  he 
freely  mixes  Florentine  and  Sienese  schools,  that  he  sees 
Giotto’s  hand  in  Taddeo  Gaddi’s  work,  or  Simone  Martini’s  in 
Orcagna’s,  and  so  on,  or — worst  of  all — that  he  presents  a 
fabrication  of  the  XIX  century  as  a masterpiece  by  the 
youthful  Raphael.  Such  mistakes  are  only  too  common  in  the 
art  literature  of  that  time,  and  most  of  the  authorities  quoted 
by  Jarves  seem  to  have  shared  them  with  him. 

Almost  contemporaneously  with  this  catalogue  J arves  pub- 
lished a larger  book  called  “Art  Studies.  The  Old  Masters  of 
Italy”  (Derby  and  Jackson,  1861),  in  which  he  discussed  the 
general  evolution  of  Italian  painting  from  the  XII  to  the 
XVII  century,  mainly  on  the  basis  of  the  pictures  he  had 
collected  himself.  The  book  contains  forty-two  illustrations  in 
line  engraving,  thirty-nine  of  which  are  done  after  paintings 
now  in  the  Jarves  Collection  at  Yale.  (Some  pictures  are 
reproduced  complete,  others  only  in  detail.) 

A second  catalogue  of  the  Jarves  pictures  was  prepared  in 
1863  when  the  collection  was  exhibited  in  the  rooms  of  the  His- 
torical Society  at  New  York.  This  shows,  however,  no  essen- 
tial deviations  from  the  original  catalogue,  except  in  the  exclu- 
sion of  eleven  pictures.  The  catalogue  contains  only  134  num- 
bers. This  restriction  of  the  collection  went  on  still  more 
rapidly  during  the  following  years  so  that  fifteen  more 
pictures  were  taken  out  before  the  collection  was  deposited  in 
1867  in  the  Art  School  of  Yale  University.  The  reasons  for 
this  gradual  restriction  of  the  collection  and  dispersal  of  some 
of  the  best  pictures  are  at  least  partly  explained  by  Jarves  in 

[ xix  ] 


INTRODUCTION 


Ms  answer  to  Cook’s  criticism  (dated  November  11,  1871,  two 
days  after  the  sale  of  the  pictures  in  New  Haven). 

There  were  thus  finally  only  119  pictures  left  when  the 
collection  was  deposited  in  the  Yale  Art  School  in  December, 
1867,  and  these  paintings  were  again  catalogued  by  Russell 
Sturgis,  Jr.,  in  a “Manual  of  the  Jarves  Collection  of  Early 
Italian  Paintings,”  published  by  Yale  University  in  1868.  The 
Manual  is  mainly  an  abbreviated  compilation  of  Jarves’  origi- 
nal catalogue,  containing  the  same  names,  descriptions  and 
documents  as  the  first  one,  though  in  a less  complete  form.  Only 
the  short  “Introductory  Essay”  about  early  Italian  painting 
and  some  historical  notes  about  the  painters  are  added  by  the 
compiler. 

This  Manual  has  since  remained  the  only  catalogue  avail- 
able of  the  Jarves  Collection  in  the  Yale  Art  School;  it  has 
now  done  service  for  forty-seven  years.  It  has  still,  of  course, 
a historical  value,  as  it  embodies  Jarves’  own  opinions  about 
the  pictures  and  also  those  of  some  contemporary  European 
critics.  How  far  these  opinions  can  be  endorsed  by  modern  art 
criticism  becomes  evident  from  the  present  catalogue.  I have 
here  quoted  under  each  picture  the  numbers  and  the  attribu- 
tions of  the  Manual,  called  the  “Old  Catalogue.”  Anyone  who 
wishes  to  make  closer  acquaintance  with  this  historical  document 
can  still  find  it  for  sale  at  the  Yale  School  of  the  Fine  Arts. 

The  Jarves  pictures  were  finally  put  on  public  sale  Novem- 
ber 9,  1871.  The  only  bid  was  made  by  the  Yale  Corporation, 
which  acquired  the  collection  for  the  exceedingly  moderate  sum 
of  $22,000,  $20,000  of  which  had  already  been  paid  to  Mr.  Jarves 
some  years  previously  as  a loan  upon  the  paintings.  Mr.  Jarves 
had  good  reason  to  feel  disappointed  at  the  lack  of  interest 
shown  by  the  American  public  in  these  masterpieces  which  the 
experts  of  that  time  had  told  him  should  be  worth  $100,000. 

[ XX  ] 


INTRODUCTION 


Since  the  pictures  have  been  exhibited  in  the  building  of 
the  Art  School  of  Yale  University,  they  have,  of  course, 
been  easily  accessible  to  all  students  and  critics  who  cared  about 
early  Italian  art.  It  is  only  surprising  that  they  have  not 
attracted  more  interest  or  been  the  subject  of  more  complete 
publications.  The  reason  must  be  sought  in  local  conditions 
rather  than  in  lack  of  interest  in  Italian  primitives  in  general, 
because  pictures  of  the  same  kind  have  during  the  last  twenty 
years  been  eagerly  sought  for  by  many  American  collectors 
and  reproductions  of  them  have  been  published  over  and  over 
again  in  magazine  articles  and  catalogues. 

The  first  critical  account  of  the  Jarves  pictures  published 
by  a modern  art  critic  was  William  Rankin’s  article  in  the 
‘‘American  Journal  of  Archaeology, ” April,  1895,  entitled, 
“Some  Early  Italian  Pictures  in  the  Jarves  Collection  of  the 
Yale  School  of  Fine  Arts  at  New  Haven.”  The  author  discusses 
only  what  he  considers  the  more  important  pictures  in  the  col- 
lection and  does  not  enter  into  a real  analysis  of  a single  one, 
but  he  nevertheless  puts  forth  several  valuable  suggestions  as 
to  names  and  attributions.  As  can  be  seen  from  my  quotations 
of  Rankin’s  opinions,  he  usually  contents  himself  with  the  indi- 
cation of  the  schools  or  stylistic  tendencies  to  which  the  pictures 
belong,  and  he  himself  states  that  his  “notes  are  written  in  a 
spirit  of  inquiry,”  but  in  at  least  three  cases  he  hits  the  nail 
on  the  head.  That  is  when  he  suggests  the  attribution  of  certain 
pictures  to  Benvenuto  di  Giovanni,  Fiorenzo  di  Lorenzo,  and 
Girolamo  da  Cremona. 

It  ought  to  be  added  that  Crowe  and  Cavalcaselle  had 
mentioned  two  of  the  Jarves  pictures  in  the  first  edition  of 
their  “History”:  the  Gentile  de  Fabriano  and  the  so-called 
Antonio  Veneziano.  Whether  the  authors  ever  had  seen  the  rest 
of  the  pictures  is  rather  uncertain. 

[ xxi  ] 


INTRODUCTION 


A few  years  after  the  publication  of  Rankin’s  article, 
Bernhard  Berenson  began  including  some  of  the  Jarves  pictures 
in  his  lists  of  the  works  of  Italian  painters  of  the  XV  and  XVI 
century.  As  is  well  known,  these  most  useful  and  admirable 
lists  have  appeared  in  several  editions  successively  corrected 
and  completed.  In  the  first  edition  (1896)  of  Berenson ’s  “Flor- 
entine Painters,”  none  of  the  Jarves  pictures  appears;  in  the 
second  edition  (1904)  four  pictures  are  mentioned,  three  of 
these  under  new  names,  of  which  I accept  two : Piero  di  Cosimo 
and  Granacci.  The  third  edition  of  the  same  book  (1909-1912) 
includes  eighteen  pictures  from  the  Jarves  Collection,  seven  of 
these  with  new  attributions  of  which  I have  accepted  five : four 
pictures  by  Jacopo  del  Sella  jo  and  one  by  “Alunno  di  Do- 
menico,” alias  Bartolommeo  di  Giovanni.  The  first  edition  of 
Berenson ’s  “Central  Italian  Painters,”  published  in  1897,  in- 
cluded seven  pictures  from  the  Jarves  Collection,  all  except 
one — the  Neroccio — under  names  already  established  by  Jarves 
or  by  Rankin.  In  the  third  edition  of  the  same  book,  1909,  seven 
more  pictures  are  listed  and  of  these  four  are  under  new  names. 
I have  endorsed  two  of  these:  Bertucci  and  Simone  Martini. 
“The  Venetian  Painters  of  the  Renaissance”  by  Berenson  does 
not  include  any  pictures  from  the  Jarves  Collection,  but  in  the 
book  “North  Italian  Painters”  by  the  same  author  two  paint- 
ings are  mentioned:  the  Nativity  by  Girolamo  da  Cremona 
(already  published  by  Rankin)  and  a picture  by  Paolo  Farinati. 

A short  account  of  the  Sienese  pictures  in  this  collection 
was  included  in  an  article  by  F.  M.  Perkins  on  Sienese  pictures 
in  American  collections  published  in  Bassegna  d’Arte  Senese, 
1905,  No.  II.  The  author  dwells  mainly  on  the  beautiful 
Annunciation  by  Neroccio  and  proposes  two  new  attributions: 
Pellegrino  di  Mariano  and  Girolamo  di  Benvenuto,  besides 
some  suggestions  of  “schools”  or  “followers.”  I follow  him 

[ xxii  ] 


INTRODUCTION 


in  the  attribution  of  the  salver  to  Girolamo  di  Benvenuto.  Later 
on,  in  1909,  Perkins  republished  in  Ra.ssegna  d’ Arte  Senese,  now 
with  the  right  attribution  to  Luca  di  Tonnne,  the  Assumption  of 
the  Virgin,  previously  assigned  to  other  Sienese  painters. 

Besides  these  expert  attributions  which  have  been  bestowed 
upon  a number  of  the  Jarves  pictures  by  critics  of  international 
renown,  other  literary  or  historical  essays  have  been  written  on 
the  cassone  panels  and  the  salver  in  the  Jarves  Collection  by 
William  Rankin  (in  Burlington  Magazine,  1906-1907),  by  Pro- 
fessor F.  J.  Mather,  Jr.,  and  by  Professor  Ch.  Hiilsen  of  Rome. 
The  same  material  has,  moreover,  quite  recently  been  published 
again  in  a form  more  historically  conclusive  (though  still  with- 
out definite  individual  attributions)  by  Professor  Schubring  in 
his  book  on  Italian  Cassoni.  This  beautiful  book  reached  the 
author  only  after  the  manuscript  of  the  present  catalogue  had 
been  delivered  to  the  press,  but  Professor  Schubring  had  been 
kind  enough  to  communicate  some  of  his  results  with  reference 
to  the  J arves  cassoni.  I hardly  need  to  mention  my  earlier  dis- 
cussion of  trecento  pictures  in  the  Jarves  Collection  in  some 
short  contributions  to  the  Burlington  Magazine  in  1908  and  in 
two  articles  written  for  Art  in  America  in  1914  because  the 
contents  of  these  reappear  in  a modified  form  in  the  present 
book.  It  has  been  my  endeavor  to  note  as  completely  as  possible 
at  the  end  of  the  discussion  of  each  painting  the  literature  relat- 
ing to  it,  but  omissions  in  this  respect  are,  of  course,  difficult  to 
avoid  as  no  records  have  been  kept  of  literature  concerning  the 
collection.  Mere  popular  newspaper  articles  or  reviews  have 
not  been  referred  to,  as  they  are  of  no  importance  for  the  scien- 
tific discussion  and  attribution  of  the  pictures. 

As  the  present  book  is  intended  to  become  not  only  a 
gallery  guide  but  also  a source  of  information  for  students  who 
wish  to  know  something  about  the  pictures  and  their  masters, 

[ xxiii  ] 


INTRODUCTION 


the  historical  notes  have  in  some  cases  been  made  rather  long. 
This  seemed  particularly  desirable  in  the  case  of  some  of  the 
early  painters  who  are  known  only  to  a few  specialists  and  who 
are  hardly  mentioned  in  the  usual  handbooks.  The  notes  are 
composed  mainly  on  the  basis  of  Milaneses  documentary  publi- 
cations, but  in  reference  to  the  better  known  artists  information 
can,  of  course,  be  gathered  from  modern  dictionaries  and  the 
last  edition  of  Crowe  and  Cavalcaselle ’s  History. 

The  principle  of  arrangement  is  in  the  first  place  chrono- 
logical, in  the  second  place  that  of  schools.  This  seemed  to  me 
most  suitable  because  the  main  part  of  the  collection  consists 
of  Italian  pictures  from  the  XIII  to  the  XVI  centuries. 
The  division  into  chapters  corresponding  to  the  different 
centuries  seemed  natural  because  the  early  Tuscan  paintings 
which  form  the  nucleus  of  the  collection  are  more  closely  allied 
to  each  other  than  the  early  and  the  late  paintings  of  any  one 
local  school.  Inside  of  the  broad  chronological  divisions  the 
local  schools  are,  however,  kept  as  distinct  as  possible. 

In  the  descriptions  of  the  paintings  the  terms  “left”  and 
“right”  are  used  with  reference  to  the  left  and  right  of  the 
spectator,  unless  the  context  obviously  implies  the  contrary. 

In  conclusion,  it  should  be  stated  that  the  credit  for  the 
publication  of  this  new  catalogue  of  the  Jarves  Collection  is 
mainly  due  to  Professor  Sergeant  Kendall,  the  present  Director 
of  the  Yale  School  of  the  Fine  Arts.  The  book  would  never 
have  been  written  had  it  not  been  for  his  great  interest  in  this 
remarkable  collection,  and  his  influence  with  the  authorities  of 
Yale  University.  I therefore  take  this  opportunity  to  express 
to  Professor  Kendall  my  most  sincere  thanks  and  appreciation 
for  his  personal  helpfulness  and  interest  in  this  work. 

Cambridge,  Mass.,  February,  1916. 

[ xxiv  ] 


o.  s. 


A DESCRIPTIVE  CATALOGUE  OF 
THE  PICTURES  IN  THE 

JARVES  COLLECTION 

BELONGING  TO  YALE 
UNIVERSITY 


TUSCAN  SCHOOLS 


(LUCCA,  FLORENCE,  PISA,  SIENA,  AREZZO) 

BONAVENTURA  BERLIN GHIERI 

Bonaventura  Berlinghieri  was  a son  of  the  painter  Berlinghiero 
Berlinghieri,  who  at  the  beginning  of  the  XIII  century  emigrated 
from  Milan  to  Lucca.  Bonaventura  and  his  two  brothers,  Barone 
and  Marco,  were  among  the  citizens  of  Lucca  who  in  1228  signed  a 
treaty  of  peace  with  Pisa.  All  three  are  known  to  have  beem 
painters,  but  no  signed  works  by  Barone  or  Marco  have  yet  been 
found.  By  Bonaventura  we  possess  an  important  specimen  in  the 
altar-panel  representing  Saint  Francis  and  six  scenes  from  his 
life,  in  San  Francesco  at  Pescia,  signed  and  dated  1235. 

1.  THE  CRUCIFIXION;  THE  DESCENT  FROM  THE 
CROSS;  THE  PIETA,  OR  MOURNING  OVER 
THE  BODY  OF  CHRIST 

Three  small  rectangular  panels  framed  together.  Gold  ground.  The 
color-scheme  is  subdued ; the  buildings  in  the  background  are  yellow,  green 
and  red;  the  garments  of  the  figures  dark  blue,  green,  cinnobar,  pink  and 
brown.  The  gold  ground  in  large  part  renewed. 

Wood.  Cradled  1915.  Crucifixion:  H.  16%  in.  W.  14%  in.;  Descent: 
H.  17%  in.  W.  14%  in. ; Pieta : H.  14%  in.  W.  14%  in. 

Old  Catalogue  No.  1.  “Ascribed  to  an  unknown  painter  of  the  XI 
century.  ’ ’ 

These  three  pictures  have  probably  originally  formed 
parts  of  a larger  composition.  It  was  a common  fashion 
in  Tuscan  art  of  the  XIII  century  to  make  altar-panels 


CATALOGUE  OF  THE  JARVES  COLLECTION 


consist  of  one  large  central  figure,  a saint  or  a Madonna, 
and  several  small  scenes  on  both  sides  of  this  relating  to 
the  Passion  of  Christ,  the  life  of  the  Virgin,  or  the  legend 
of  the  central  saint.  Examples  of  such  compositions  are 
found  in  the  museums  in  Pisa  and  Siena,  and  there  is 
also  a picture  in  the  Jarves  Collection  of  a similar  form 
(No.  3,  Margaritone  d ’Arezzo).  Even  on  crucifixes  of  the 
same  epoch  we  find  scenes  from  the  life  of  Christ  arranged 
on  both  sides  of  the  Crucified,  but  as  one  of  these  three 
panels  represents  Christ  on  the  Cross,  it  is  most  likely  that 
they  were  not  parts  of  a crucifix  but  of  some  altarpiece 
with  a large  central  figure,  possibly  a Madonna. 

In  all  three  panels  the  central  axis  is  marked  by  a 
Y-shaped  cross;  in  the  Crucifixion  the  Virgin  and  Saint 
John  stand  on  either  side  of  the  Cross;  in  the  Deposition 
the  three  holy  women  are  placed  on  the  one  side,  Saint 
John  and  Joseph  of  Arimathea  (who  is  taking  the  nails 
from  Christ’s  feet)  on  the  other  side,  while  Nicodemus  has 
climbed  a ladder  to  lift  down  the  body.  In  the  third 
scene  the  Cross  rises  high  and  bare  like  a signpost,  the 
dead  body  of  Christ  lying  on  a sarcophagus  at  its  foot. 
The  Virgin  is  embracing  the  Dead  Christ,  Saint  John  is  caress- 
ing His  hands,  but  Mary  Magdalen  and  Nicodemus  on  either 
side  of  the  Cross  burst  out  in  pathetic  gestures.  The 
woman  is  lifting  her  arms  in  wild  despair,  as  if  she  would 
like  to  tear  down  the  Cross  on  which  her  Master  has  died. 
The  same  wonderfully  expressive  movement  of  her  arms 
has  been  used  by  several  later  artists,  always  with  striking 
effect.  We  find  it  in  Cimabue’s  fresco  in  the  upper  church 
in  Assisi,  and  again  in  Donatello’s  representation  of  the 
Deposition  on  one  of  the  bronze  pulpits  in  San  Lorenzo, 
Florence.  It  appeals,  apparently,  to  the  great  dramatic 


Bonaventura  Berlinghieri 

The  Descent  from  the  Cross;  The  Pieta,  or 
Mourning  over  the  Body  of  Christ 


H\ 


CATALOGUE  OE  THE  JARVES  COLLECTION 

consist  of  one  large  central  figure,  a saint  or  a Madonna, 
and  several  small  scenes  on  both  sides  of  this  relating  to 
the  Passion  of  Christ,  the  life  of  the  Virgin,  or  the  legend 
of  the  central  saint.  Examples  of  such  compositions  are 
found  in  the  museums  in  Pisa  and  Siena,  and  there  is 
also  a picture  in  the  Jarves  Collection  of  a similar  tom 
(No.  3,  Margaritone  d’Arezzo).  Even  on  crucifixes  of 
same  epoch  we  find  scenes  from  the  life  of  Christ  arrange 
on  both  sides  of  the  Crucified,  but  as  one  ot  these  three 
panels  represents  Christ  on  the  Cross,  it  is  most  likely  that 
they  were  not  parts  of  a crucifix  hut  of  some  altarpiece 
with  a large  central  figure,  possibly  a Madonna. 

In  all  three  panels  the  central  axis  is  marked  by  a 
Y-shaped  cross;  in  the  Crucifixion  the  Virgin  and  Saint 

of  the  Cross;  in  the  Deposition 

: My  women  are  placed  on  the  one  side,  isamt 

, ,,,-j  Joseph  of  Anmathea  (who  is  taking  the  aa® 

01  - ft  n the  other  side,  While  Nieodcmas  has 

ladder  to  lift  down  the  body.  In  the  third 
: ises  high  and  bare  like  a »t  the 

dead  body  Christ  lying  on  a sarcophagus  at  its  foot. 
Ti ...  Virgin  is  embracing  the  Dead  Christ.  Saint  John  is  caress 
ug  His  hands,  but  Mary  Magdalen  and  Nicodemus  on  cit  er 
si.,,  of  the  Cross  burst  out  in  pathetic  gestures.  The 
lifting  her  arms  in  wild  despair,  as  lf 
like  to  tear  down  the  Cross  on  which  her  Master  has  ^ 
The  same  wonderfully  expressive  movement  of  her  a 
has  been  used  by  several  later  artists,  always  with  striking 
it  we  find  it  in  Cimabue’s  fresco  in  the  upper  church 
in  Assisi,  and  again  in  Donatello’s  representation  of 
Deposition  on  one  of  the  bronze  pulpits  in  San  Lorenzo 
Florence.  It  appeals,  apparently,  to  the  great  dramatic 

[ 4 ] 


IH3IHOMIJfl5l8  AH  JTMaVAVIOa 


•10  ,6JoicI  orIT  jaeoiD  odl  moU  InooeaQ  oriT  . t 
JarirlO  fo  ’{boH  srfj  ^vo  ^nitnuoM 


BONA  VENTURA  BERLINGHIERI 


masters;  its  origin  is  probably  to  be  sought  in  Byzantine 
art. 

It  would  not  be  fair  to  compare  the  painter  of  the 
Jarves  picture  with  later  artists,  like  Cimabue  and  Dona- 
tello, who  have  all  the  advantage  of  more  developed  means 
of  expression,  but  he  may  be  ranked  with  them  as  one  of 
the  great  imaginative  masters.  There  is  a deep  agitating 
feeling  in  his  conception  of  the  Passion ; Christ  is  an 
intensely  suffering  human  being;  the  superiority  of  His 
figure  over  the  others  is  marked  by  its  greater  emotional 
expressiveness. 

Though  the  figures  show  very  little  individualization, 
their  emotional  state  is  clearly  marked:  Saint  John  is  a 
dreaming  youth,  the  Virgin  a queenly  mother,  Mary  Mag- 
dalen the  passionate  devotee;  every  one  reveals  a separate 
shade  of  human  character.  And  this  has  been  attained  by 
the  very  simplest  means.  The  drawing  is  summary,  the 
figures  being  outlined  with  black,  the  draping  very  stiff, 
so  that  some  of  the  figures  have  a likeness  to  standing 
rectangles ; but  the  simplification  does  not  result  in  flac- 
cidity,  it  is  a synthesis  accomplished  with  remarkable 
feeling  for  decorative  beauty. 

There  are  not  many  pictures  of  this  early  epoch  which 
stand  on  a level  with  this  one  in  regard  to  decorative 
and  emotional  qualities.  The  nearest  counterpart  is  perhaps 
a small  diptych  in  the  Academy  in  Florence,  representing 
on  the  one  wing  the  Madonna  and  saints,  and  on  the  other 
wing  Christ  on  the  Cross  and  two  scenes  from  His  Passion. 
This  picture  is  ascribed  to  Bonaventura  Berlinghieri,  the 
Lucchese  painter,  who  is  considered  one  of  the  earliest 
artistic  personalities  of  Italy  and  whose  individual  style 
is  known  to  us  principally  through  the  signed  altar-panel 


CATALOGUE  OF  THE  JARVES  COLLECTION 


in  San  Francesco  in  Pescia.  It  is  on  the  basis  of  analo- 
gies of  style  with  this  painting  that  the  Florentine  diptych 
is  attributed  to  Berlinghieri ; and  though  considerably 
weaker  in  drawing  it  can  be  safely  admitted  as  a work  of 
his  atelier. 

The  Jarves  pictures  correspond  very  closely  to  the 
panel  in  Pescia.  If  we  compare  them  in  detail  with  the 
six  small  scenes  from  the  life  of  Saint  Francis  on  either 
side  of  the  standing  figure,  we  get  convincing  evidence  of 
the  correctness  of  their  attribution  to  Bonaventura  Berlin- 
ghieri. The  rectangular  figures,  the  types,  the  hands,  the 
way  in  which  the  personages  move  and  gesticulate,  are 
the  same  in  both  pictures.  Other  interesting  correspond- 
ences are  to  be  found  in  the  scheme  of  composition,  with 
dominating  vertical  lines  and  “Byzantine”  architectural 
motives  in  the  background,  used  to  frame  and  set  off  the 
figures.  There  is  almost  a geometrical  structure  in  these 
small  scenes;  their  balance  is  perfect,  they  have  the  deco- 
rative quality  of  large  monumental  frescoes.  Their  master 
is  one  of  the  great  precursors  of  Giotto. 

Reproduced  in  Art  in  America,  1915. 


GUIDO  DA  SIENA 


A Sienese  painter,  trained  in  the  Byzantine  tradition,  who 
probably  worked  during  the  latter  part  of  the  XIII  century.  He 
is  regarded  as  the  founder  of  the  School  of  Siena,  his  fame  resting 
principally  on  the  large  Madonna  picture  in  the  Palazzo  Publico 
of  Siena  (formerly  in  San  Domenico).  Its  date  is  now  1221,  but 
the  picture  has  been  to  a large  extent  overpainted,  the  signature 
being  at  the  same  time  retouched.  The  original  date  was  probably 
1271.  This  probability  is  sustained  by  a comparison  with  other 
pictures  of  the  same  time  in  the  Siena  Gallery.  Milanesi  identified 
this  painter  with  a certain  Guido  Graziani,  mentioned  in  Sienese 
documents  between  1278  and  1302,  but  we  have  no  substantial  proof, 
either  about  the  painter’s  full  name  or  about  his  life. 


2.  THE  CRUCIFIXION 

Christ  is  hanging,  or  rather  standing  on  the  footstool  of  a low  Cross, 
the  feet  fastened  with  one  nail,  the  legs  crossed  and  the  body  protruding  in 
a large  curve.  His  large  head  is  drooping  between  the  shoulders.  Mary 
Magdalen  is  kneeling  at  the  foot  of  the  Cross,  leaning  her  head  against 
Christ’s  feet.  His  Mother  and  two  other  women  are  standing  on  His  right, 
wiping  their  tears  with  their  hands.  On  the  other  side  stands  Saint  John 
weeping  mildly,  and  behind  him  is  Longinus,  affirming  his  conversion  to  the 
belief  in  Christ.  Three  more  Roman  soldiers  are  escaping,  frightened  by 
the  darkness  which  fell  when  Christ  died  on  the  Cross.  The  figures  toward 
both  ends  gradually  decrease  in  size,  because  the  panel  is  of  triangular 
shape ; and  they  all  are  placed  practically  in  the  same  front  plane. 

Gold  ground.  The  colors  are  deep  and  warm,  blue,  red,  violet,  green 
and  cinnobar  being  the  principal  tones;  the  flesh-tone  is  greenish. 

Wood.  Triangular  shape.  H.  22%  in.  W.  38  in. 

Old  Catalogue  No.  11.  “Ascribed  to  Giunta  Pisano.” 


CATALOGUE  OF  THE  JABVES  COLLECTION 


According  to  a statement  in  the  old  catalogue,  the  pic- 
ture “formerly  filled  the  head  of  a doorway  in  a church 
near  Siena,  for  which  place  it  was  painted.”  This  in- 
formation is  very  interesting  and  apparently  correct.  The 
panel  has  certainly  been  executed  with  some  definite  archi- 
tectural purpose.  If  it  was  not  placed  over  a door,  it  was 
the  crowning  piece  of  a large  altar-panel.  In  any  case,  the 
provenance  given  in  the  catalogue  must  be  correct ; the 
style  of  the  picture  confirms  that  it  originated  in  Siena, 
not  in  Pisa.  It  is  a work  by  the  famous  Guido.  Several 
other  works  by  the  same  artist  are  found  in  Tuscan  mu- 
seums, mostly  in  the  gallery  of  his  native  town,  though 
only  one  of  these  is  labelled  with  Guido’s  name. 

The  paintings  which,  according  to  our  opinion,  most 
evidently  reveal  the  same  individual  manner  are  the  following : 

In  the  Accademia  di  Belle  Arti  in  Siena:  No.  5, 
Scenes  from  the  Life  of  Beato  Andrea  Gallerani  and  other 
Saints;  No.  7,  Madonna  and  Four  Saints,  in  half  figure; 
No.  15,  Saint  Peter  enthroned,  and  scenes  from  his  life; 
No.  16,  Madonna,  in  half  figure;  No.  587,  Madonna,  full 
length.  Moreover,  there  is  a full-length  Madomia  in  the 
Uffizi  (ascribed  to  Coppo  di  Marcoaldo)  and  another  in  the 
Gallery  of  Arezzo  which  must  be  given  to  Guido.  A smaller 
half  length  Madonna  by  the  same  master  is  in  the  collection  of 
Mr.  D.  F.  Platt  at  Englewood,  N.  J.  In  Siena  are  still  other 
works  in  his  manner  and  of  his  school,  which,  however,  are  of 
less  importance  for  an  apprehension  of  Guido’s  individual  style. 

Like  that  of  most  of  the  famous  Sienese  artists  of  the 
following  century,  Guido’s  is  a sensitive,  lyrical  tempera- 
ment. His  whole  art  may  be  called  a melodious  hymn  in 
praise  of  the  Virgin.  He  lacks  the  dramatic  power  of  a 


CATALOGUE  OF  THE  JARVES  COLLECTION 

According  to  a statement  in  the  old  catalogue,  the  pic- 
ture “formerly  filled  the  head  of  a doorway  in  a church 
near  Siena,  for  which  place  it  was  painted.”  This  in- 
formation is  very  interesting  and  apparently  correct.  The 
panel  has  certainly  been  executed  with  some  definite  archi- 
tectural purpose.  If  it  was  not  placed  over  a door,  it  was 
the  crowning  piece  of  a large  altar-panel.  In  any  case,  the 
provenance  given  in  the  catalogue  must  be  correct ; the 
style  of  the  picture  confirms  that  it  originated  in  Siena, 
not  in  Pisa.  It  is  a work  by  the  famous  Guido.  Several 
other  works  by  the  same  artist  are  found  in  Tuscan  mu- 
seums, mostly  in  the  gallery  of  his  native  town,  though 
of  these  is  lal  with  Guido’s  name. 

TV  oamiings  -which.  -''ng  to  our  opinion,  most 

■ . x-  \ i ■ ’.a die are  the  following . 

I.  s 

X ££5 
3-03 

& « . Madonna  and  Four  Saints,  in  half  figure; 

H a Saint  Peter  enthroned,  and  scenes  from  his  life; 
*£  Madonna,  in  half  figure;  No.  587,  Madonna,  full 
. .jo- ;l  Moreover,  there  is  a full-length  Madonna  in  the 
. ffizi  (ascribed  to  Coppo  cli  Marcoaldo)  and  another  in  the 
Gallery  of  Arezzo  which  must  be  given  to  Guido.  A smaller 
half  length  Madonna  by  the  same  master  is  in  the  collection  of 
Mr.  D.  F.  Platt  at  Englewood,  N.  J.  In  Siena  are  stul  other 
works  in  Ms  manner  and  of  Ms  school,  which,  however,  are  of 
less  importance  for  an  apprehension  of  Guido  s individual  si v I . 

Like  that  of  most  of  the  famous  Sienese  artists  of  the 
following  century,  Guido’s  is  a sensitive,  lyrical  tempe  a- 
• ment.  His  whole  art  may  be  called  a melodious  hymn  m 
praise  of  the  Virgin.  He  lacks  the  dramatic  power  >f  a 

[ 3 ] 


GUIDO  DA  SIENA 


Berlingkieri  or  a Giunta  Pisano;  lie  strives  more  for  deco- 
rative refinement,  rhythmic  effects  and  ornamental  beauty. 
His  colors  are  deep  and  rich.  He  heightens  the  effect  of 
the  Virgin’s  azure  mantle  with  golden  lights,  and  he  places 
large  glass  pearls  in  the  halos. 

If  we  compare  the  Jarves  Crucifixion  with  Guido’s 
paintings  in  the  Siena  Academy  we  are  struck  by  the  like- 
ness of  the  types:  a rather  full,  flat  oval,  low  and  broad 
forehead,  an  extremely  long,  straight  nose  which  broadens 
out  at  the  root,  and  hands  with  threadlike  fingers,  the 
thumb  being  cut  off.  The  draping  of  the  mantles  is  angu- 
lar and  the  mantle  edges  form  zigzag  lines.  The  figures 
have  a marked  tendency  to  a sentimental  inclination  of  the 
head,  and  they  avoid  stronger  emotional  expressions.  A 
characteristic  detail  is  the  treatment  of  the  hair  of  the 
male  figures ; they  have  a wig-like  cap  of  thick  hair,  as  is  seen, 
for  instance,  in  the  figure  of  Saint  John. 

The  Jarves  picture  is,  as  a whole,  one  of  Guido’s  best 
paintings;  it  has  a deeper  emotional  quality,  more  life  and 
variation,  than  his  usual  Madonnas. 

Reproduced  in  Art  in  America,  1915. 


MARGARITONE  D ’AREZZO 


Margaritone ’s  name  and  style  are  comparatively  well  known, 
because  he  has  signed  several  pictures  and  has  been  the  subject  of 
Vasari’s  special  attention.  Vasari  makes  his  old  fellow-citizen  not 
only  one  of  the  leading  painters  of  the  XIII  century,  but  also  a 
great  sculptor  and  architect.  Nowadays  we  know  only  his  paintings, 
among  which  there  are  several  crude  images  of  Saint  Francis,  and 
they  do  not  indeed  reveal  an  artistic  genius  of  any  consequence. 
The  only  contemporary  document  in  which  Margaritone  is  men- 
tioned is  a legal  instrument  made  in  1262.  He  was  then  a mature 
man.  Vasari  states  that  he  died  in  1293. 

The  two  following  pictures  (Nos.  3 and  4)  are  probably  not 
individual  works  by  Margaritone,  though  executed  in  his  manner, 
possibly  in  his  workshop. 


3.  MADONNA  ENTHRONED,  BETWEEN  SAINT 
PETER  AND  SAINT  LEONARD 

Six  small  scenes  from  the  life  of  Saint  Peter  are  arranged  in  vertical 
rows  on  the  sides  beyond  the  saints.  To  the  left:  Christ  calling  Peter;  The 
Destruction  of  Simon  Magus  by  Saints  Peter  and  Paul;  The  Angel  releasing 
Saint  Peter  from  the  prison.  To  the  right:  Christ’s  Charge  to  Saint  Peter 
(Matt,  xvi,  69)  ; The  Healing  of  the  Cripple  by  Saint  Peter  (Acts  iii,  2)  ; 
The  Martyrdoms  of  Saint  Peter  and  Saint  Paul.  Above  each  of  these  small 
compositions  is  a descriptive  Latin  title  in  Gothic  letters;  and  the  names  of 
the  saints  are  also  given  in  large  letters  over  their  shoulders.  The  Virgin, 
who  is  giving  the  breast  to  the  Child,  wears  a dark  blue  mantle  over  a pinkish 
garment;  the  Child  has  a cinnobar  red  mantle,  and  the  cushion  on  which 
the  Virgin  sits  is  of  the  same  color.  The  side  figures  and  the  small  scenes 
are  brightly  colored,  different  shades  of  red  together  with  yellow  and  green 


[ 11  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


being  the  principal  tones.  The  ground  is  gold.  The  technique  is  crude,  the 
figures  are  heavily  outlined  with  black. 

Wood,  with  a covering  of  canvas,  on  which  the  preparation  for  the 
painting  is  laid.  The  ornamented  frame  is  made  of  one  piece  with  the 
panel.  H.  42  in.  W.  64^  in. 

Old  Catalogue  No.  12.  “Margaritone  da  Arezzo.” 

If  we  compare  this  picture  with  some  of  Margari- 
tone’s  signed  works,  for  instance  the  Saint  Francis  pictures 
in  Arezzo,  Siena,  Castel  Fiorentino,  Ganghereto  and  the 
Vatican,  we  cannot  avoid  observing  a great  likeness  in 
types  and  hands  and  in  the  arrangement  of  the  mantle 
folds.  The  general  similarities  are  so  evident  that,  they 
hardly  need  to  be  pointed  out  in  detail.  The  figures  in  all 
these  pictures  are  rather  short  and  clumsy,  with  big  heads, 
and  draped  in  heavy  mantles  which  form  concentric  folds 
on  the  protruding  knees.  This  is  seen  most  evidently  in 
the  seated  Madonna.  The  standing  apostles  have  a likeness 
to  wooden  statues  roughly  hewn  out  of  a trunk  rather  than 
carved.  The  whole  composition  has  a stamp  of  rustic 
clumsiness  which  does  not,  however,  prevent  it  from  being 
of  powerful  decorative  effect.  Set  at  the  side  of  Margari- 
tone’s  signed  paliotto  in  the  National  Gallery  in  London, 
which  represents  the  Madonna  and  eight  legendary  subjects, 
it  appears  almost  too  heavy  and  powerful  to  be  by  the 
same  master,  though  the  morphological  details  are  very 
much  alike.  It  is  more  closely  allied  to  a picture  in  the 
Academy  of  Florence  representing  Saint  Mary  Magdalen 
and  eight  scenes  from  her  life  (No.  99,  Scuola  Bizantina), 
which  we  regard  as  a work  by  a follower  of  Margaritone. 
The  standing  figure  of  the  virgin  saint,  seen  full  face,  is  a 
sister  of  Saint  Leonard  in  the  Jarves  picture;  their  types, 
hands  and  feet  are  exactly  similar,  and  so  are  their  pecu- 


[ 12  ] 


1 


o 

N 

N 

H 

OS 

<3 

CQ 

H 

2 

O 


OS 

< 

o 

os 

< 

2 


CO 


Madonna  Enthroned,  between  Saint  Peter  and  Saint  Leonard 


being  the  principal  • ■ -r  The  -7  ; gvid.  The  technique  is  crude,  the 

figures  are  heavily  outlined  with  black. 

Wood,  with  a on  which  the  preparation  for  the 


in  Arezzo,  Siena,  Caste!  Fi<  reivdno,  Gangbereto  and  the 
IT  Vatican,  we  cannot  avoid  observing  a great  likeness  in 
® types  and  bands  and  in  the  arrange  of  the  mantle 

a Tbe  general  similarities  are  so  evident  that  they 

5 hardly  need  to  be  pointed  out  in  detail  The  figures  in  all 

g ares  are  rather  short  and  clumsy  vifh  big  heads, 

6 | in  heavy  mantles  which  form  » 1 

a > 

J 4ie  mna.  The  standing  apostles  have  a 

I I n ughlv  hewn  out  of  a trunk  rather  than 

“•la!  mposition  has  a stamp  of  rustic 

3 gij,;  r 

S’ 

I . 

| 

I 


Academy  i r.  renting  Saint  Mary  Magdalen 


The  standing  fig  ;>--i  of  the  virgin  saint,  seen  full  face,  is  a 
sister  of  Saint  Leonard  in  Jie  Jarves  picture;  their  types, 
hands  and  feet  are  < • n ; similar,  and  so  are  their,  pecu- 

[ 12  ] 


‘IDS  h 


: is  made  of  one  piece  with  the 


Old 


If  we  tb  ■■  oieturo  with  some  of  Margin- 

tone’s  si'  ot-i  works,  for  instance  the  Saint  Francis  pictures 


much  alii 


• )..■  rphe  logical  details  are  very 
closely  allied  to  a picture  in  the 


and  eight  seer  s her  we  (]No.  99,  Scuola  Lizantina), 

which  we  reg  a work  by  a follower  of  Margaritone. 


MARGARITONE  IV  AREZZO 


liarly  reversed  ears.  A third  picture  by  the  same  hand,  a 
large  Madonna,  was  owned  some  years  ago  by  the  well- 
known  antiquary  Miethke  in  Vienna.  It  exhibited  also  the 
same  very  light  colors  and  the  same  mannerism  in  the 
treatment  of  the  mantle  folds  as  the  Jarves  picture. 

We  are  thus  inclined  to  see  in  this  picture  a work  of 
Margaritone ’s  school,  done  by  a master  who  continued  his 
style  and  mannerism  with  a heavier  hand. 

Reproduced  in  Art  in  America,  1915. 


SCHOOL  OF  MARGARITONE  D ’AREZZO 


4.  SMALL  TRIPTYCH 

In  the  centre  is  the  Madonna  in  half  figure,  holding  the  Child  on  her 
right  arm  and  pointing  to  Him  with  the  other  hand.  Saint  Dominic  and 
Saint  Francis  are  standing  on  either  side,  painted  on  a smaller  scale.  On 
the  spandrels  of  the  frame  above  the  rounded  arch  are  two  angels.  The 
left  wing  shows  the  Crucifixion  with  the  Virgin  and  Saint  John  on  either 
side  of  the  Christ.  The  right  wing  is  divided  in  two  halves;  in  the  upper 
part  is  Saint  Michael  trampling  on  the  dragon,  and  below,  two  saints,  one  of 
whom  is  Saint  Dominic. 

The  execution  is  very  crude,  the  colors  have  darkened.  The  figures 
are  sharply  outlined  against  the  gold  background. 

Wood.  H.  9 in.  W.  10%  in. 

Old  Catalogue  No.  3.  “Italian  work,  in  bad  imitation  of  the  Byzantine 
manner.  ’ ’ 

This  little  triptych  or  house  altar  is  a rather  poor 
specimen  of  the  style  and  workmanship  fostered  in  Mar- 
garitone’s  bottega.  It  has  many  of  the  peculiarities  in 

types,  hands  and  treatment  of  the  folds  which  we  pointed 
out  above  as  characteristic  of  the  Aretine  master;  but  it  is 
more  decadent  than  any  of  Margaritone’s  works.  It  was 
evidently  executed  by  a man  of  very  limited  technical 
ability. 


[ 15  ] 


Madonna  and  Four  Saints 


]/jtfqouutf  Huq  j^oni.  gsrjufg 


DEODATO  ORLANDI 


Deodato  was  probably  educated  in  the  school  of  the  Berlinghieri 
in  Lucca.  On  a crucifix  in  the  gallery  of  this  town  he  signed  himself : 
“Deodatus  filius  Orlandi  de  Lucha” — 1288.  Another  picture  with 
the  same  signature  and  the  date  1301  is  preserved  in  the  gallery  at 
Pisa.  Deodato  has  also  been  made  responsible  for  the  very  crude 
frescoes  in  San  Piero  a Grado,  outside  Pisa,  but  this  attribution 
seems  still  very  uncertain.  Deodato  lived  probably  until  1337. 


5.  MADONNA  AND  FOUR  SAINTS 

Saint  John  the  Baptist,  Saint  Peter,  Saint  James  and  Saint  Francis,  all 
half  length.  The  Virgin  holds  the  Child  seated  before  her.  He  gives  a bene- 
diction with  the  right  hand  and  holds  a scroll  in  the  left.  His  cloak  is  red 
and  the  Virgin  has  a blue  mantle;  behind  her  is  extended  a drapery  orna- 
mented with  red  stars  in  light  square  frames  on  a dark  green  ground.  The 
garments  of  the  saints  are  grayish  violet,  pink,  green,  orange  and  light  brown. 
Gold  ground. 

The  picture,  which  is  of  broad  rectangular  shape,  has  a triangular  pedi- 
ment over  the  Virgin.  The  frame  is  made  in  one  piece  with  the  panel.  It 
was  carefully  cleaned  in  1915  but  shows  no  retouching. 

Wood.  H.  27%  in.  W.  69%  in. 

Old  Catalogue  No.  13.  “Giovanni  Cimabue.” 

According  to  the  catalogue  the  picture  is  “partly  by 
his  [ Cimabue ’s]  own  hand,  and  partly  by  his  pupils  under 
his  direction,”  a distinction  which  is  scarcely  justified  by 
the  homogeneous  tameness  of  the  five  figures.  They  are 
indeed  far  from  Cimabue ’s  powerful  prophets,  as  we  know  them 
from  his  frescoes  in  Assisi  and  the  Madonna  panel  in  Florence ; 


[ 17  ] 


CATALOGUE  OF  THE  JARYES  COLLECTION 


it  will  be  hard  to  discover  any  difference  in  style  or  execution 
between  the  central  Madonna  and  the  four  saints. 

The  composition  of  this  picture  is  the  same  as  in 
Deodato  Orlandi’s  signed  altarpiece  in  the  Museo  Civico  at 
Pisa,  with  the  difference  only  that  the  single  figures  in  the 
Pisan  picture  are  enclosed  in  arches,  and  that  no  separate 
pediment  rises  above  the  Madonna. 

In  regard  to  the  types  and  the  hands,  the  figures  of 
the  Jarves  picture  are,  however,  still  more  closely  related 
to  another  Madonna  attributed  to  Deodato  Orlandi,  in  the 
same  gallery,  and  to  the  lateral  figures  in  his  signed  Cru- 
cifix in  the  gallery  at  Lucca.  They  are  extremely  thin, 
almost  like  silhouettes,  their  long  and  narrow  faces  with  a 
slightly  aquiline  nose  are  stereotyped,  and  they  move  their 
flat  hands  as  if  they  were  not  their  own,  but  artificial 
limbs.  Deodato  has  no  creative  imagination  to  make  up 
for  his  lacking  sense  of  corporeal  form;  his  drawing  is  not 
expressive  like  Berlinghieri’s,  he  simply  follows  the  man- 
nerism of  the  older  Lucchese  masters  without  being  able 
to  grasp  the  imaginative  quality  of  their  art. 


Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Margaritone?) 
Reproduced  in  the  Burlington  Magazine,  1908,  and  in  Art  in  America, 

1915. 


[ 18  1 


XIV  CENTURY 


(TRECENTO) 


TUSCAN  SCHOOLS 

(FLORENCE,  SIENA) 

BERNARDO  DADDI 

Bernardo  Daddi  was  one  of  the  leading  masters  in  Florentine 
painting  during  the  second  quarter  of  the  XIV  century.  A large 
number  of  his  panel  pictures  are  preserved,  but  the  documentary 
records  about  his  life  are  very  scanty.  He  was  probably  born  about 
1280  or  somewhat  later.  His  name  appears  in  the  rolls  of  the 
Guild  of  the  Medici  e Speziali  which  commence  1312  and  end  1320. 
In  1335  he  buys  a house  in  the  Via  Larga  in  Florence  and  the 
same  year  he  executes  a picture  for  the  chapel  in  Palazzo  Publico. 
Other  records  of  his  presence  in  Florence  date  from  1338  and  1339. 
Bernardo  was  one  of  the  founders  of  the  Compagnia  di  San  Luca, 
a religious  association  of  the  painters  of  Florence,  started  in  1338, 
and  he  was  made  one  of  the  three  “consiglieri”  of  this  organization. 
In  1347  he  was  entrusted  with  the  commission  for  a large  Madonna 
for  the  church  of  Or  San  Michele  in  Florence.  He  must  have  died 
before  August  18, 1348  (not  “after  1355,”  as  usually  stated),  because 
on  that  date  a guardian  was  selected  for  his  orphan  sons,  Daddi  and 
Francesco,  Bernardo  being  in  the  same  document  mentioned  as 
“quondam.”  (Cf.  Milanesi,  Nuovi  Documenti,  p.  32.) 

The  artistic  activity  of  Bernardo  Daddi  can  be  divided  in  two 
main  periods;  during  the  first,  which  falls  before  1334,  he  is  work- 
ing under  the  influence  of  Giotto,  and  that  of  the  so-called  Cecilia- 
Master;  but  during  the  later  period  his  style  was  deeply  modified 
by  contact  with  Sienese  painting.  Ambrogio  Lorenzetti,  especially, 
had  a determining  influence  on  his  art,  which,  taken  as  a whole,  can 
thus  be  said  to  form  a bridge  between  the  early  trecento  painting 
of  Florence  and  of  Siena. 


[ 21  ] 


CATALOGUE  OF  THE  JARYES  COLLECTION 


6.  THE  VISION  OF  SAINT  DOMINIC 

The  saint  in  a black  cloak  is  kneeling  in  profile  towards  the  right,  and 
lifts  his  hands  to  Saint  Peter  and  Saint  Paul,  who  are  floating  down  toward 
him,  entrusting  him  with  a sword  and  a book,  the  weapons  by  which  he  was 
to  conquer  the  world.  The  three  figures  form  sharp  silhouettes  against 
the  gold  background.  The  two  saints  wear  light-colored  mantles. 

Wood.  Cradled  and  cleaned  1915.  H.  15  in.  W.  13%  in.  Rounded  top. 

Old  Catalogue  No.  20.  “Attributed  to  Taddeo  Gaddi.” 

This  picture  has  evidently  originally  formed  part  of  a 
larger  composition,  probably  of  a predella  (or  footpiece  under 
an  altar  picture).  We  know  two  more  pictures  of  the  same 
size  and  shape  (with  rounded  top)  which  appear  to  have  been 
parts  of  the  same  predella.  One  is  now  in  the  Raczinsky  Col- 
lection in  Posen,  representing  Saint  Peter  Martyr  saving  a 
ship  in  storm;  the  other,  representing  the  saint  preaching  in 
the  piazza,  is  now  in  the  Musee  des  Arts  Decoratives  in  Paris. 
As  all  three  pictures  represent  miracles  by  prominent  Domini- 
can saints,  they  remind  us  of  the  fact  that  Bernardo,  accord- 
ing to  documentary  records  of  the  XVI  century,  executed  a 
painting  with  three  Dominican  saints  for  a chapel  in  Santa 
Maria  Novella  in  Florence.  The  signature  of  this  picture  has 
been  preserved  in  the  “Sepultuario  di  Roselli”  (in  the  National 
Archives  in  Florence).  It  said:  “Pro  animabus  parentum 
patris  Guidonis  Salvi  et  pro  anima  domine  Diane  de  Casinis 
Anno  1338.”  If  the  probability  of  the  present  predella  piece 
being  a fragment  of  this  altar-panel  were  not  so  strong  we 
should  hardly  date  it  before  1340,  because  the  other  paintings 
by  Bernardo  in  the  same  style  are  all  later  in  date.  Still,  a 
couple  of  years  do  not  make  a great  difference  in  an  old 
painter’s  evolution,  and  there  is  no  compelling  reason  to  make 
this  identification  unacceptable. 


[ 22  ] 


I 


Bernardo  Daddi 
6.  The  Vision  of  Saint  Dominie 


CATALOGUE  OF  THE  JARVES  COLLECTION 
6,  THE  VISION  OF  SAINT  DOMINIC 

The  saint  in  a black  cloak  is  kneeling  in  profile  towards  the  right,  and 
lifts  his  hands  to  Saint  Peter  and  Saint  Paul  who  are  floating  down  toward 
him,  entrusting  him  with  a sword  a . d a book\  the  weapons  by  which  he  was 
to  conquer  the  world.  The  three  figures  form  sharp  silhouettes  agarns 
the  gold  background.  The  two  saints  wear  light-colored  mantles. 

Wood.  Cradled  and  cleaned  1915.  H.  15  in.  W.  13%  in;>  Rounded  top. 

Old  Catalogue  No.  20.  “Attributed  to  Taddeo  Gaddi.” 

This  picture  lias  evidently  originally  formed  part  of  a 
larger  composition,  probably  of  a predella  (or  tootpiece  under 
Walter  picture).  We  know  two  more  pictures  of  the  same 
,,  , i gy,a  ' e with  rounded  top)  which  appear  to  have  been 
, ,vi  , , f , ; e same  predella.  One  is  now  in  the  Raczinsky  Col- 

resenting  Saint  Peter  Martyr  saving  a 
lip  in  ther,  representing  the  saint  preaching  in 

tl e liasza  so  the  Musee  des  Arts  Decorative  m Paris, 

t , > t.  w nurtures  represent  miracles  by  prominent  Dosmui- 

rts.  ihey  remind  us  of  the  fact  that  Bernardo,  aecord- 
! documentary  records  of  the  XVI  century,  executed  a 
, with  three  Dominican  saints  for  a chapel  in  Santa 
lari  y veila  in  Florence.  Tl  ature  of  this  picture  has 

been  preserved  in  the  “Sei  RoseUi”  (in  the  National 

Archives  in  Florence)  It  said:  “Pro  animabus  parentum 
patris  Guidonis  Salvi  et  pro  anima  demine  Diane  de  Casons 
338.”  If  the  probability  oi  .1-  it  predella  piece 

being  a fragment  of  this  alter-p«  Ml  were  not  so,  strong  we 
should  hardly  date  it  before  134“.  because  the  other  pamtmgs 
by  Bernardo  in  the  same  style  are  all  later  m date.  St  , 
couple  of  years  do  not  make  a great  difference  in  an  old 
painter’s  evolution,  and  there  is  no  compelling  reason  to  make 
this  identification  unacceptable. 

[ 22  ] 


kkiaQ  oaflAtfflaS 
•iinimoQ  Jnin8  lo  noiziV  oriT  .0 


BERNARDO  DADDI 


The  picture  among  Bernardo’s  generally  accepted  works 
which  offers  the  closest  similarities  to  this  little  panel  is  the 
altarpiece  from  San  Pancrazio,  now  in  the  Florentine  Academy. 
There  we  find  a series  of  predella  pieces  closely  correspond- 
ing in  style  and  shape  to  the  present  one,  though  none  of  them 
equals  the  Jarves  picture  in  pure  decorative  beauty  of  design. 
The  drawing  is  here  highly  expressive.  The  curved  lines  of 
the  floating  apostles  are  carried  down  by  the  raised  arms  of  the 
kneeling  monk,  a sequence  of  rhythmic  waves  thus  moving 
diagonally  over  the  whole  picture,  suggesting  the  psychological 
connection  between  the  receiving  monk  and  the  inspiring 
apostles.  There  are  few  compositions  by  Bernardo  which  stand 
on  a level  with  this  one  with  regard  to  emotional  expressiveness. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of 
Giotto.) 

Reproduced  in  the  Burlington  Magazine,  1908. 


[ 23  ] 


IN  THE  MANNER  OF  BERNARDO  DADDI 


7.  THE  CRUCIFIXION 

At  the  foot  of  the  Cross  stand  the  relatives  of  Christ  and  some  saints. 
Saint  Mary  Magdalen  is  embracing  the  trunk  of  the  Cross,  the  Virgin  is 
swooning  in  the  arms  of  two  holy  women,  Saint  John  is  mourning,  drooping 
his  head  in  his  hand.  Further  to  the  left  stands  Saint  Anthony,  and  towards 
the  right  two  younger  saints.  In  the  background  appears,  on  either  side, 
a Roman  soldier  on  horseback.  The  color-scheme  is  bright  with  red,  blue, 
yellow,  violet  and  gray  tones,  the  ground  is  gilded,  but  the  original  effect 
is  largely  impaired  by  clumsy  restorations. 

Wood.  The  top  with  trefoiled  arch.  Frame  of  one  piece  with  the  panel ; 
regilded.  H.  35  in.  W.  19%  in. 

Old  Catalogue  No.  33.  “In  the  manner  of  Spinello  Aretino.” 

As  this  picture  now  is  little  more  than  a ruin,  it  is  rather 
hazardous  to  give  a definite  attribution  to  it.  The  stylistic 
connection  with  some  of  Bernardo  Daddi’s  works  is,  however, 
evident.  Especially  some  of  his  earlier  small  domestic  altar- 
panels,  like  the  little  Madonna  with  Saints  in  the  Sterbini  Col- 
lection, or  the  triptych  of  the  year  1336  in  the  gallery  in  Siena 
offer  many  points  of  resemblance;  the  figures  have  the  same 
elongated  proportions,  the  same  small  heads  and  well-rounded 
(almost  as  if  turned)  forms  as  in  the  present  picture.  Were  it 
only  better  preserved,  it  would  be  a refined  example  of  Floren- 
tine art  just  about  the  time  of  Giotto’s  death.  There  is  none 
of  the  known  masters  of  that  period  to  whose  style  it  presents 
closer  affinities  than  to  that  of  Bernardo  Daddi. 


[ 25  ] 


TADDEO  GADDI 


Taddeo  Gaddi  was  probably  born  at  the  close  of  the  XIII 
century.  From  an  early  age  lie  received  his  artistic  education  in 
Giotto’s  workshop  and,  according  to  Vasari,  became  the  master’s 
closest  and  most  beloved  pupil.  Taddeo,  however,  was  never  able  to 
understand  the  essential  in  Giotto ’s  art ; he  had  little  ability  to  render 
the  plastic  quality  of  the  human  figure,  his  talent  being  more  bent 
towards  illustration.  The  earliest  dated  works  by  Taddeo  are  the 
frescoes  in  the  Baroncelli  Chapel  in  Santa  Croce,  Florence,  painted 
between  1332  and  1338.  In  1342  he  was  working  in  Pisa,  first  in  San 
Francesco  and  then  in  Campo  Santo ; 1347  he  is  mentioned  in  a docu- 
ment as  one  of  the  five  best  painters  in  Florence.  He  was  at 
several  times  a member  of  the  Commission  for  the  construction  of 
the  Florentine  Duomo,  and  also  a member  of  the  Guild  of  Saint 
Luke.  He  died  in  1366,  this  date  being  written  after  his  name  in 
the  rolls  of  the  Guild.  Taddeo  was  a rather  prolific  painter,  and 
we  have  several  dated  pictures  by  him  besides  the  frescoes  in 
Florence  and  in  the  Pisan  Campo  Santo. 


8.  THE  ENTOMBMENT 

Christ  is  sitting  in  a sarcophagus  at  the  foot  of  the  Cross,  supported  by 
the  Virgin  and  the  kneeling  Saint  John.  Two  mourning  angels  are  floating 
over  their  heads.  The  Virgin  has  a dark  purple  mantle,  Saint  John  wears 
a light  green  garment  and  a pink  mantle,  the  angels  have  blue  and  green  robes. 
Behind  the  Virgin  some  roses  are  blooming.  Gold  ground. 

Wood.  Cleaned  1915.  H.  56%  in.  W.  30  in. 

Old  Catalogue  No.  17.  “Giotto”;  “unusually  fine  in  many  respects.” 


[ 27  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


The  decorative  effect  of  the  picture  has  been  seriously- 
damaged  by  cutting  off  large  pieces  on  both  sides  and  by  adding 
a triangular  piece  at  the  top.  The  panel  was  originally  of  a 
much  broader  rectangular  shape;  there  was  then  some  space 
left  at  the  sides  of  the  large  figures,  which  are  now  not  only 
narrowly  closed  in  but  even  partly  cut  off  by  the  frame.  Even 
more  than  is  usual  in  Taddeo’s  pictures,  the  space  appears  too 
small  for  the  figures,  which  consequently  look  heavier  than 
was  intended.  The  sarcophagus  is  placed  on  a sloping  line, 
diagonally  in  the  picture,  by  which  the  artist  probably  tried  to 
emphasize  the  impression  of  depth,  but  the  intention  is  carried 
out  without  any  feeling  for  space  or  perspective.  The  space 
problem  remained  always  unsolvable  to  Taddeo. 

The  best  part  in  this  picture  is  the  body  of  Christ,  which  is 
modelled  with  great  care.  The  central  figure  is  also  better 
preserved  than  the  very  stiff  and  heavy  side  figures;  were  it 
alone,  the  picture  would  offer  more  aesthetic  enjoyment. 
Exactly  the  same  Christ  appears  in  the  large  Crucifix  which 
Taddeo  painted  for  San  Giorgio  a Ruballa,  not  far  from 
Florence,  but  He  there  makes  a superior  impression  because  He 
is  not  squeezed  into  an  impossible  space-composition.  The 
Virgin’s  type  reminds  us  of  Taddeo’s  Madonnas  in  Pistoja  and 
Siena,  dated  respectively  1353  and  1355.  We  have  thus  reason 
to  presume  that  the  Jarves  picture  is  of  the  same  period.  It 
has  originally  been  one  of  the  most  interesting  creations  of 
Taddeo’s  later  years,  which,  alas,  are  also  the  more  decadent. 

Reproduced  in  the  Burlington  Magazine,  1908. 

Siren,  Giottino.  (List  of  Taddeo’s  works.) 


[ 28  ] 


Taddeo  Gaddi 


8.  The  Entombment 


CATALOGUE  OP  THE  JAR  YES  COLLECTION 

The  decorative  effect  of  the  picture  has  been  seriously 
damaged  by  cutting  off  large  pieces  on  both  sides  and  by  adding 
a triangular  piece  at  the  top.  The  panel  was  originally  of  a 
much  broader  rectangular  shape;  there  was  then  some  space 
left  at  the  sides  of  the  large  figures,  which  are  now  not  only 
narrowly  closed  in  but  even  partly  cut  off  by  the  frame.  Even 
more  than  is  usual  in  Taddeo’s  pictures,  the  space  ; - ■ ' 

small  for  the  figures,  which  consequently  loot,  heavier  than 
was  intended.  The  sarcophagus  is  placed  on  a sloping  line, 
diagonally  in  the  picture,  by  which  the  artist  probably  tried  to 
emphasize  the  impression  of  depth,  but  the  intention  is  carried 
out  without  any  feeling  for  sj>aee  or  perspective.  The  space 
problem  remained  always  unsolvable  to  Taddeo. 

The  best  part  in  this  picture  is  the  body  of  Christ,  which  is 
modelled  with  great  care.  The  central  figure  is  also  better 
preserved  than  the  very  stiff  and  heavy  side  figures:  were  it 
alone,  the  picture  would  offer  more  aesthetic  enjoyment. 
Exactly  the  same  Christ  appears  in  the  large  Crucifix  which 
Taddeo  painted  for  San  Giorgio  a Rubaila,  not  far  from 
Florence,  but  He  there  makes  a superior  impression  because  He 
is  not  squeezed  into  an  impossible  space-composition.  The 
Virgin’s  type  reminds  us  of  Taddeo’s  Madonnas  in  Pistoja  and 
Siena,  dated  respectively  1353  and  1355.  We  have  thus  reason 
to  presume  that  the  Jarves  picture  is  of  the  same  period.  It 
has  originally  been  one  of  the  most  interesting  creations  0j 
Taddeo’s  later  years,  which,  alas,  are  also  the  more  decadent. 

Reproduced  in  the  Burlington  Magazine,  1908. 

1 Siren,  Giottino.  (List  of  Taddeo’s  works.) 


[ 28  ] 


ICK3At)  03a<3ArI 

inarndcnolfia  9flT  .8 


ROMAGNOLE  FOLLOWER  OF  GIOTTO 

Beginning  of  the  XIV  century 

9.  SMALL  TRIPTYCH 

This  little  domestic  altar  represents  sixteen  scenes  from  the  lives  of 
Mary  and  Christ  and  three  from  the  life  of  John  the  Baptist.  The  series 
begins  on  the  top  of  the  left  wing  with  the  Annunciation,  then  follow  on  the 
same  wing  the  Birth  of  Christ,  the  Adoration  of  the  Magi,  the  Presentation  in 
the  Temple.  The  central  part  contains  a representation  of  the  Virgin  with 
the  Christ  Child,  attended  by  angels,  and  the  following  scenes  from  Christ’s 
Passion : the  Baptism,  the  Last  Supper,  the  Ecce  Homo,  the  Crucifixion,  the 
Deposition  from  the  Cross,  the  Pieta,  the  Resurrection;  on  the  top  is  repre- 
sented Saint  John  the  Baptist  in  the  Wilderness.  On  the  right  wing  there 
are  four  more  scenes  from  the  Passion  of  Christ : the  Trial  before  Pilate,  the 
Scourging  of  Christ,  the  Agony  in  the  Garden,  the  Betrayal  by  Judas.  Above 
these  are  given  the  Martyrdom  of  Saint  John  the  Baptist  and  the  Feast  of 
Herodias.  These  small  scenes  which  are  crowded  with  clumsy  figures  are 
framed  by  ornamental  stripes  with  a very  simple  geometrical  pattern.  The 
color-scheme  is  lively;  the  original  gold  ground  is  badly  defaced  and  partly 
renewed.  The  picture  has  evidently  gone  through  a complete  and  clumsy 
restoration  at  an  early  epoch. 

Wood.  H.  18  in.  W.  26%  in. 

Old  Catalogue  No.  4.  “Unknown  painter  of  the  twelfth  century.” 

An  individual  attribution  of  this  picture  is  hardly  possible 
because  it  shows  no  marked  individual  characteristics,  unless 
its  crude  technique  is  taken  as  such.  As  the  picture  also  has 
gone  through  a rather  coarse  treatment  at  a remote  period  it 
may  thereby  have  lost  some  of  its  original  qualities.  The 
general  derivation  of  the  style  of  the  picture  is,  however, 


[ 29  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


quite  evident ; it  is  a weak  imitation  after  the  early  Giottesque 
painters  in  the  Romagna.  Certain  of  the  better  figures  in  this 
little  triptych  recall  paintings  by  Giuliano  da  Rimini;  for  in- 
stance, the  signed  altarpiece  in  Mrs.  J.  L.  Gardner’s  collection 
in  Boston  (dated  1307)  or  the  similar  one  in  Cesi  (dated  1308) 
and  perhaps  still  more  the  little  house  altar  formerly  in  the 
Aynard  collection  and  now  in  the  possession  of  Mr.  Lehman  in 
New  York.  The  present  picture  is,  however,  as  a whole,  inferior 
to  any  work  by  the  known  Giotteschi  of  the  Romagna.  The 
painter  must  have  been  a local  workman  of  very  poor  training — 
his  drawing  is  puerile  and  his  technique  is  crude — but  his  crea- 
tion has  nevertheless  a marked  and  interesting  character  of  the 
time  and  the  school. 


[ 30  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 

(|  •. evident;  it  is  a weak  imitation  after  the  early  Giottesque 
painters  in  the  Romagna.  Certain  of  the  better  figures  in  this 
1:1,  triptych  recall  paintings  by  Giuliano  da  Rimini;  for  in- 
stance, the  signed  altarpiece  in  Mrs.  J.  L.  Gardner’s  collection 
in  Boston  (dated  1307)  or  the  similar  one  in  Cesi  (dated  1308) 
and  perhaps  still  more  the  little  house  altar  formerly  in  the 
Aynard  collection  and  now  in  the  possession  of  Mr.  Lehman  in 
New  York.  The  present  picture  is,  however,  as  a whole,  inferior 
to  any  work  by  the  known  Giotteschi  of  the  Romagna.  The 
painter  must  have  been  a local  workman  of  very  poor  training 
his  drawing  is  puerile  and  his  technique  is  crude  but  his  crea- 
tion has  nevertheless  a marked  and  interesting  character  of  the 
otirne  and  the  school. 


FOLLOWER  OF  DUCCIO 
Beginning  of  the  XIV  century 

The  importance  of  the  great  Sienese  master,  Duccio  di  Buo- 
ninsegna,  becomes  evident  not  only  from  his  own  authentic  works 
but  also  from  the  number  of  school  works  and  anonymous  pictures, 
partly  of  high  quality,  which  must  be  grouped  around  this  central 
personality.  His  influence  on  contemporaneous  painters  was  far- 
reaching,  and  thus  it  has  not  yet  been  possible  to  define  all  the 
artistic  personalities  of  his  following.  The  present  picture  is  a 
work  by  one  of  these  anonymous  painters  of  Duccio’s  school,  active 
at  the  beginning  of  the  XIY  century. 


10.  SMALL  DIPTYCH  REPRESENTING  THE  MA- 
DONNA AND  THE  CRUCIFIXION 

The  Virgin  is  seated  on  a large  marble  throne  with  curved  back.  She 
is  holding  the  Child  on  her  left  arm.  Three  adoring  angels  are  kneeling  on 
either  side,  arranged  in  vertical  rows  without  any  regard  to  spatial  composi- 
tion. The  Virgin  is  wearing  a dark  blue  mantle  and  the  Child  a red  tunic. 
Behind  and  on  the  throne  is  extended  a red  carpet  decorated  with  a con- 
ventionalized bird-  and  leaf-pattern. 

The  Crucifixion  is  composed  according  to  the  principles  applied  in 
several  other  representations  of  this  subject  by  Duccio  and  his  followers,  with 
a multitude  of  people  at  the  foot  of  the  Cross.  These  are  divided  in  two 
triangular  groups,  the  figures  behind  rising  above  those  in  front,  as  if  standing 
on  a sloping  ground.  To  the  left  are  the  relatives  of  Christ,  to  the  right  the 
Roman  soldiers.  In  the  free  space  between  rises  the  slender  Cross  with  a giant 
figure  hanging  low  down,  from  arms  so  thin  that  one  almost  fears  that  they 
may  break.  The  color-scheme  is  deep,  with  different  shades  of  red  and  green ; 


[ 31  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


the  mantle  of  the  Roman  centurion  to  the  right  is  heightened  with  gold  stripes. 
The  gold  ground  is  largely  renewed  and  the  picture  has  been  overcleaned. 

Wood.  Each  H.  13!/&  in.  W.  8%  in. 

Old  Catalogue  No.  14.  “Duccio  da  Siena.” 

The  painter  of  this  picture  can  be  recognized  by  a marked 
technical  peculiarity:  he  puts  strong  lights  on  the  lips  and 
the  noses,  which  stand  out  as  white  strokes  against  the  darker 
color  of  the  faces.  The  same  technical  feature  can  be  observed 
in  a small  triptych  in  the  Siena  Academy  (No.  3)  ascribed  to 
Duccio,  where  we  find,  especially  in  some  of  the  small  scenes  on 
the  wings,  for  instance,  the  Crucifixion  and  the  Coronation, 
figures  of  the  same  type  and  execution  as  in  the  little  Jarves 
diptych.  The  mannerism  is  in  both  cases  so  marked  that  we 
feel  inclined  to  attribute  the  two  pictures  to  one  master,  though 
admitting  that  the  Siena  triptych  is  somewhat  superior  in 
quality.  It  is  also,  probably,  of  an  earlier  date. 

A third  picture  by  the  same  artist  is  in  Mr.  George  Blumen- 
tlial’s  collection  in  New  York;  it  is  a small  triptych  represent- 
ing on  the  central  panel  Christ  on  the  Cross  with  four  saints 
below,  and  on  the  wings  four  scenes  from  the  life  of  the 
Virgin  and  six  saints.  The  central  figure  corresponds  exactly 
in  design  and  type  to  the  Christ  of  the  Jarves  diptych,  and  in 
several  of  the  other  figures  we  find  the  very  characteristic 
features  noted  above:  long,  straight  noses  marked  with  white 
strokes,  very  small  mouths,  and  small  hands.  The  mantles  are 
drawn  very  tight  around  the  thin  and  slender  bodies,  thereby 
accentuating  the  stiffness  of  the  figures.  The  Blumenthal 
triptych  is  the  best  preserved  of  all  the  works  known  to  us  by 
this  artist  and  it  shows  him  in  the  closest  touch  with  his  master 
Duccio.  All  the  four  scenes  from  the  life  of  the  Virgin  which 
appear  on  the  wings  are  copied  from  Duccio’s  Maesta  picture, 


[ 32  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 

the  mantle  of  the  Roman  centurion  to  the  right  is  heightened  with  gold  stripes. 
The  gold  ground  is  largely  renewed  and  the  picture  has  been  overcleaned. 

"Wood.  Each  II.  13!/^  in.  "W.  8%  in. 

Old  Catalogue  No.  14.  ‘"Duccio  da  Siena.” 

The  painter  of  this  picture  can  be  recogniz*  t narked 
technical  peculiarity:  he  puts  strong  lights  on  tbv  opt  nod 
the  noses,  which  stand  out vas  white  strokes  against  the  darkei 
color  of  the  faces.  The  same  technical  feature  can  be  observed 
in  a small  triptych  in  the  Siena  Academy  (No.  3)  ascribed  to 
Duccio,  where  we  find,  especially  in  some  of  the  small  scenes  on 
the  wings,  for  iusti  he  Crucifixion  and  the  Coronation, 

ores  of  tin  and  execution  as  in  the  little  Jarves 

diptych.  The  mannerism  is  in  both  cases  so  marked  that  we 
feel  inclined  to  attribute  the  two  pictures  to  one  master,  though 
admitting  that  the  Siena  triptych  ■ semen  - • m 

quality.  It  is  also,  probably,  of  an  earlier  dan 

• rlii  ■ d picture  by  the  same  artist  is  in  Mr.  George  Blumen- 
hal  s co  *.  non  in  New  York;  it  is  a small  triptych  represent- 
ing on  the  central  panel  Christ  on  the  Cross  with  four  saints 
below,  and  on  the  wings  four  scenes  from  the  life  of  the 
Virgin  and  six  saints.  The  central  figure  corresponds  exactly 
in  design  and  type  to  the  Christ  of  the  Jarves  diptych,  and  in 
several  of  the  other  figures  we  find  the  very  characteristic 
features  noted  above:  long,  straight  noses  marked  with  white 
strokes,  very  small  mouths,  and  small  hands.  The  mantles  ai  e. 
drawn  very  tight  around  the  thin  and  slender  bodies,  thereby 
accentuating  the  stiffness  of  the  figures.  The  Blumenthal 
triptych  is  the  best  preserved  of  all  the  works  known  to  us  by 
thi  ^ . ,t  d it  shows  him  in  the  closest  touch,  with  his  master 
Due  A >.  AT  the  four  scenes  from  the  life  of  the  Virgin  which 
appear  on  the  wings  are  copied  from  Duccio’s  Maesta  picture, 

[ 32  ] 


oioaufl  ao  flav/ojjo'4 

noixftiamO  sriJ  fane  BnnobfiM  ad}  gnrtnaaaiqaH  rO^JqiG  Ilemri  .01 


FOLLOWER  OF  DUCCIO 


and  the  single  saints  come  also  very  close  to  certain  figures  in 
the  large  panel. 

It  is  evident  that  this  anonymous  painter  was  a very  subtle 
and  able  imitator  of  Duccio,  and  must  have  worked  in  the 
master ’s  studio  for  a long  while.  W e find  in  his  works  much  of 
the  decorative  beauty  of  line  characteristic  of  Duccio  at  a com- 
paratively early  period,  but  we  miss  in  them  the  pathos  and 
power  which  lift  Duccio’s  individual  creations  to  a higher  plane. 
Nevertheless,  he  is  an  original  and  sensitive  temperament,  more 
attractive  than  many  of  the  later,  better-known  pupils  of 
Duccio. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of 
Duccio.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Seguace  di  Duccio.) 


SIMONE  MARTINI 


Simone  Martini  was  the  most  original  and  characteristic  rep- 
resentative of  the  Sienese  School  among  Duccio’s  immediate  fol- 
lowers. Born  in  1283,  he  evidently  received  his  artistic  education 
in  Duccio’s  studio.  In  1324  he  married  Giovanna,  the  sister  of 
Lippo  Memmi,  a painter  with  whom  Simone  henceforward  kept 
a workshop.  His  first  great  work  was  the  Maesta  in  the  Palazzo 
Publico  in  Siena,  dated  1315;  in  1328  he  painted  in  the  same  hall, 
opposite  this  fresco,  another  one  representing  the  Sienese  general 
Guidoriccio  Fogliani  on  horseback.  Later  on  he  decorated  with 
frescoes  the  chapel  of  Saint  Martin  in  San  Francesco  at  Assisi. 
Besides  these  large  mural  paintings  Simone  executed  a number 
of  easel  pictures  which  are  still  partly  preserved  in  San  Lorenzo 
in  Naples  and  in  the  museums  in  Siena,  Florence,  Pisa,  Orvieto, 
Berlin,  Paris,  Antwerp,  and  in  some  private  collections.  In  1339 
Simone  was  called  to  Avignon  to  paint  in  the  papal  palace,  but  the 
works  he  did  there  are  now  entirely  destroyed.  Simone  died  at 
Avignon,  in  1344. 

11.  SAINT  MARTIN  DIVIDING  HIS  MANTLE  WITH 
A BEGGAR 

The  young  warrior  saint  on  horseback  has  halted  just  outside  the  city 
gate,  where  he  encounters  a naked  begger.  He  has  extended  one  end  of  his 
mantle  to  the  shivering  man  and  draws  his  sword  to  cut  it  in  halves. 
According  to  the  legend  he  left  the  one  half  to  the  begger  and  kept  the  other 
half  himself. 

The  knight  is  wearing  a golden  buff  coat  and  dark  armor;  his  horse  is 
light  brown,  and  the  mantle  he  is  dividing  is  red.  The  background  is  formed 
by  the  city  wall  in  brownish  and  green  tones. 

Wood.  H.  11%  in.  W.  8%  in. 

Old  Catalogue  No.  46.  “Dello  Delli.” 


[ 35  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


TMs  little  picture  is  possibly  a fragment  of  some  small 
triptych,  or  of  a larger  composition,  but  perfectly  preserved. 
It  might  indeed  be  called  a gem  of  light  and  sensitive  color. 
The  refined,  lyrical  temperament  of  the  master  reveals  itself 
here  above  all  in  the  harmony  of  mellow  tones.  The  horse  and 
the  two  men  are  somewhat  stiff,  but  the  naturalistic  characteri- 
zation of  the  shivering  beggar  is  most  remarkable. 

The  nearest  stylistic  resemblances  to  this  picture  are  to  be 
found  in  Simone’s  small  panels  in  the  museums  in  Antwerp, 
Berlin,  and  Paris,  representing  the  Annunciation  and  scenes 
from  the  Passion  of  Christ,  All  these  and  some  more  which 
probably  have  been  destroyed  formed  originally  a small  altar 
shrine.  They  were  executed  during  Simone’s  later  years,  pos- 
sibly at  Avignon.  Here  we  meet  with  the  same  light  and  deli- 
cate colors  and  the  same  types,  with  the  long,  straight  noses,  as 
in  the  Jarves  picture.  The  rather  free  and  vivid  naturalistic 
characterization  of  the  scene  gives  us  also  reas*  n t : re  "iua 
the  Jarves  picture  was  painted  at  a 'Vi.y.  v . • period 

in  Simone’s  career.  In  San  Fran  .*,••••:•  he  treated  the 

same  subject  on  a larger  scale  in  a fresco  painting  with  less 
marked  naturalism  and  more  boldness  of  line.  The  intimate 
feeling  and  expressiveness  of  the  small  panel  is,  however,  hardly 
reached  in  the  larger  painting. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Seguaee  .di  Bartolo  di 
Fredi.) 

Berenson,  Central  Italian  Painters,  II  ed.  (Simone.) 


[ 36  ] 


IWITHAM  3HOMl8  f) 

tb§§98  b riji-w  9lJnBM  aiH  gnibiviQ  niJifiM  JniB8  .II 


LUCA  DI  TOMME 


Sienese  painter  of  the  school  of  Simone  Martini.  According 
to  Vasari,  Luca  was  a pupil  of  Barna  Senese,  a statement  which  is 
fairly  well  supported  by  the  style  of  Luca’s  works.  In  1355  he 
registered  as  the  third  painter  in  the  Company  of  Saint  Luke  in 
Siena.  He  was  a member  of  the  general  council  of  Siena  in  1379, 
and  1388-1389  he  was  of  the  council  of  the  Duomo.  In  1389  he 
assisted  Bartolo  di  Maestro  Fredi  and  his  son  Andrea  in  the  pro- 
duction of  an  altarpiece  for  the  cathedral  chapel  of  the  Guild  of 
the  Shoemakers.  He  was  still  living  in  1392.  There  are  signed 
altarpieces  by  Luca  in  the  galleries  in  Siena  and  Pisa  which  can 
be  taken  as  starting  points  for  further  attributions. 

12.  ASSUMPTION  OF  THE  VIRGIN 

The  Virgin  sits  in  an  aureole  in  the  shape  of  the  Vesica  Piscis,  full 
front,  with  hands  clasped.  Singing  and  adoring  angels  are  carrying  her 
upwards.  Above,  in  the  trefoils  of  the  Gothic  arches  and  in  the  spandrels, 
are  seraphims,  and  higher  up  on  the  central  gable  appears  Christ  with  the 
heavenly  crown  for  the  Virgin.  Beneath  is  seen  the  open  tomb  of  the  Virgin. 
She  is  wearing  a white  mantle  ornamented  with  gold,  the  angels  are  clothed 
in  light  blue  and  pink  tunics,  all  richly  ornamented  with  gold.  The  whole 
color-scheme  is  gay  and  light;  the  background  is  gilded.  The  picture  is  in 
good  condition  and  has  still  its  original  Gothic  frame. 

Wood.  H.  53 % in.  W.  26^4  in.  (including  the  whole  tabernacle). 

Old  Catalogue  No.  35.  ‘ ‘ Unknown  painter ; Sienese  school  about  1350.  ’ ’ 

The  Assumption  of  the  Virgin,  as  represented  in  this  pic- 
ture, was  one  of  the  most  popular  motives  in  early  Sienese  art ; 
the  Virgin  was  regarded  as  the  special  patroness  of  Siena.  The 
composition  was  probably  first  codified  in  the  form  in  which 


[ 37  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


it  remained  for  three  or  four  generations  by  Pietro  Lorenzetti ; 
his  picture  in  the  Academy  in  Siena  shows  practically  the  same 
formal  arrangement  as  the  present  one.  It  was  repeated  by 
Lippo  Mernmi  (Munich),  by  Bartolo  di  Maestro  Fredi 
(Boston),  by  Andrea  di  Bartolo  (Jerkes  Coll.),  by  Taddeo  di 
Bartolo  (Siena)  and  by  a long  row  of  quattrocento  painters. 
The  present  repetition  is  most  closely  connected  with  the  little 
picture  by  Lippo  Menuni  and  with  the  miniature  by  Nicolo  di 
Ser  Sozzo  di  Tagliacci  in  Siena. 

The  types  of  the  Virgin  and  the  angels  reveal  to  full  evi- 
dence the  master,  Luca  Tonnne ; they  are  marked  by  a peculiar 
rotundity,  low  forehead,  long,  straight  noses  and  almond-shaped 
eyes.  The  figures  are  somewhat  stiff  and  inscribed  in  floating 
unbroken  contours.  Luca  Tomme’s  signed  altarpiece,  repre- 
senting Saint  Anne  with  the  Virgin  and  four  saints,  in  the  Siena 
Academy,  affords  the  same  stylistic  characteristics ; a compara- 
tive analysis  of  these  two  pictures  can  leave  no  doubt  in  regard 
to  the  identity  of  the  painter.  The  picture  in  Siena  is  dated 
1367;  the  Jarves  picture  is  probably  of  the  same  time  or  a 
little  later. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of 
Lorenzetti.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Bartolo  di  Fredi.) 

Berenson,  Central  Italian  Painters,  II  ed.  (Bartolo  di  Fredi.) 

Perkins  in  Rassegna  d’Arte,  1909.  (Luca  di  Tomme.) 


[ 38  ] 


LOCUE  OF  THE  JARVES  COLLECTION 

0 for  three  or  four  generations  by  Pietro  Lorenzetti ; 
ure  in  the  Academy  in  Siena  shows  practically  the  same 
> arrangement  as  the  present  one.  It  was  repeated  by 
. ppo  Memmi  (Munich),  by  Bartolo  di  Maestro  Fredi 
Boston) , by  Andrea  di  Bartolo  (Jerkes  Coll.),  by  Taddeo  di 
.Bartolo  (Siena)  and  by  a long  row  of  quattrocento  painters. 
The  prescv  repetition  is  most  closely  connected  with  the  little 
picture  b\  Lippo  Memmi  and  with  the  miniature  by  Nicolo  di 
Ser  So;-  -.-  • di  Tagliacci  in  Siena. 

types  of  the  Virgin  and  the  angels  reveal  to  full  evi- 
der  • Jie  master,  Luca  Tomme;  they  are  marked  by  a peculiar 
iy,  low  forehead,  long,  straight  noses  and  almond-shaped 
The  figures  are  somewhat  stiff  and  inscribed  in  floating 
ii  contours.  Luca  Tomme ’s  signed  altarpiece,  repre- 
>•  Saint  Anne  with  the  Virgin  and  four  saints,  in  the  Siena 
• iemy,  affords  tin  same  stylistic  characteristics;  a compara- 
tive analysis  these  iwo  pictures  can  leave  1.0  • . - "-u'o'd 

to  the  id  ; of  the  painter.  The  pi-n  I.-.  ' 

1367;  res  picture  is  prob  I of  the  same  time  or  a 

little  later. 

* in  America,':  Journal  of  Archaeology,  1895,,  II.  (School  of 

; rem-setti. ) 

Perkins  in  Rassegna  d’Arie  Senese,  1905,  II.  (Bartolo  di  Fredi.) 
Berenson,  Central  Italian  Painters,  II  ed.  (Bartolo  di  Fredi  ) 

Perkins  in  Rassegna  d’Arte,  1909.  (Lnca  di  Tomme.) 


[ 38  ] 


aMMoT  i a aouJ 
ni^iiV  9tiJ  to  noHqmugaA  VI 


ANDREA  DI  CIONE,  CALLED  ORCAGNA 


Andrea  di  Cione  was  born  at  Florence  in  tlie  first  decade  of  the 
XIY  century.  In  1344  lie  was  enrolled  as  a painter  in  the  Guild  of 
the  Medici  and  Speziali,  and  in  1352  his  name  was  entered  in  the  roll 
of  the  Guild  of  the  Stonemasons  in  Florence.  In  1355  he  became 
Capomastro  di  Or  San  Michele  and  in  the  following  year  handed  in  a 
design  for  the  facade  of  the  Florence  cathedral.  In  the  years  1358, 
1359  and  1360  he  visited  Orvieto  several  times,  but  seems  hardly  to 
have  been  able  to  comply  with  the  terms  of  his  contract  as  master 
of  the  construction  of  the  great  cathedral  in  that  city,  being  too 
much  taken  up  with  his  other  obligations  in  Florence.  It  is  prob- 
able that  Andrea  died  in  1368,  that  being  the  date  written  after  his 
name  on  the  rolls  of  the  Company  of  Saint  Luke,  Florence. 

Andrea  Orcagna  is  the  greatest  personality  in  Florentine 
trecento  art  about  the  middle  of  the  century.  Like  the  later  Renais- 
sance masters,  he  was  active  not  only  in  painting  but  also  in  sculpture 
and  architecture,  and  this  many-sided  activity  had  also  its  special 
importance  for  the  development  of  his  style  in  painting.  His  figures 
display  a stronger  plastic  quality  than  those  of  other  contemporane- 
ous painters,  and  his  compositions  show  often  a marked  tendency 
towards  architectonic  and  sculptural  forms.  Comparatively  few 
paintings  by  Orcagna  are  known  nowadays,  the  large  and  famous 
frescoes  he  executed  in  Santa  Croce  and  in  Santa  Maria  Novella  in 
Florence  having  been  destroyed.  His  most  important  remaining 
works  are  the  altarpiece  in  Cappella  Stozzi  in  Santa  Maria  Novella, 
executed  between  1354  and  1357,  and  the  fragmentary  frescoes  in  the 
old  refectory  of  Santo  Spirito  in  Florence. 


[ 39  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


13  and  14.  SAINT  PETER;  AND  SAINT  JOHN  THE 
BAPTIST 

Two  wings  of  a large  altarpiece.  Saint  Peter  is  standing  full  face, 
holding  his  key  and  his  book.  He  wears  an  orange-colored  mantle  lined  with 
red.  Saint  John,  who  is  standing  three  quarters  to  the  right,  lifts  one  hand 
as  if  to  call  attention,  and  holds  a large  cross  in  the  other.  He  has  long 
curling  hair  and  a red  mantle  lined  with  blue  stuff  over  a dark  goat-skin.  Both 
figures  are  standing  on  a rich  brocade  stuff  ornamented  with  animals  of  gold 
on  red  ground.  The  background  is  gold.  The  back  of  both  panels  is 
decorated  with  architectural  ornaments. 

Wood.  Each  H.  39  in.  W.  15%  in. 

Old  Catalogue  Nos.  25  and  26.  “Andrea  Orcagna.” 

These  single  figures  are  closely  related  to  Orcagna’s  three 
monumental  saints  in  the  National  Gallery  in  London.  Like 
all  his  large  paintings,  they  bear  witness  to  the  painter’s 
mastery  of  plastic  form.  The  figures  are  characterized  by 
unusual  power  and  firmness  of  treatment,  the  bodies  are  of 
stocky  build,  with  large  heads  and  long,  well-developed  hands 
and  feet ; their  attitudes  are  distinct  and  appropriate,  showing 
an  effort  to  contrast  full  face  and  profile.  The  arrangement  of 
the  mantles  and  the  careful  study  of  their  folds  give  these 
figures  a place  of  their  own  in  Florentine  trecento  painting.  We 
do  not  know  any  other  master  of  that  time  who  ever  attempted 
so  thorough  a study  of  drapery  as  Orcagna ; even  Giotto,  in  spite 
of  his  keen  observation  of  nature  and  of  his  plastic  sense,  does 
not  advance  beyond  mere  generalized  suggestion  of  the  form 
beneath  the  drapery.  The  later  trecentisti  usually  lay  more 
stress  on  fluency  of  line  than  on  sharply  outlined  details. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (Orcagna.) 

Siren,  Giottino.  (List  of  Orcagna’s  works.) 

Reproduced  in  the  Burlington  Magazine,  1908,  and  in  Art  in  America, 

1914. 

Berenson,  Florentine  Painters,  III  ed.  (Orcagna.) 


[ 40  ] 


Andrea  di  Cione,  Called  Orcagna 
13.  Saint  Peter 


CATALOGUE  OP  THE  JARVES  COLLECTION 

13  and  14.  SAINT  PETER?  AND  SAINT  JOHN  THE 

BAPTIST 

Two  wings  of  a large  altarpiece.  Saint  Peter  is  standing  full  face, 
lidding  Ids  key  and  his  book.  He  wears  an  orange-colored  mantle  lined  with 
red.  Saint  John,  who  is  standing  three  quarters  to  the  right,  lifts  one  hand 
as  if  to  caU  attention,  and  holds  a large  cross  in  the  other.  He  has  long 
curling  hair  and  a red  mantle  lined  with  blue  stuff  over  a dark  goat-skin.  Both 
figures  are  standing  on  a rich  brocade  stuff  ornamented  with  animals  of  gold 
on  red  ground.  The  background  is  gold.  The  back  of  both  panels  is 
decorated  with  architectural  ornaments. 

Wood.  Each  H.  39  in.  W.  15%  in. 

Old  Catalogue  Nos.  25  and  26.  Andrea  Orcagna. 

These  single  figures  are  closely  related  to  Orcagna’s  three 
monumental  saints  in  the  National  Gallery  in  London.  Like 
all  his  large  paintings,  bear  witness  to  the  painters 

mastery  of  plastic  0 figures  are  characterized  by 

> „ • , r.  „ ..  ..  v i ,« > . . t : -fio  'VkLac  '\Tr‘  <>f 

uimsu  ■ ■ ' > ■ ■ < t -.-i  a ■ r !.? 

. ..  a-;;.-.  ,lu!  d? s>iVjp r* ate,  showsng 

full  face  and  profile.  The  arrangement  of 
.aid  the  careful  study  of  their  folds  give  these 
a place  of  their  own  in  Florentine  trecento  painting.  We 

not  know  any  other  master  of  that  time  who  ever  attempted 
so  thorough  a study  of  drapery  as  Orcagna ; even  Giotto,  in  spite 
of  his  keen  observation  of  nature  and  of  his  plastic  sense,  docs 
not  advance  beyond  mere  generalized  suggestion  of  the  form 
beneath  the  drapery.  The  later  trecentist!  usually  lay  more 
stress  on  fluency  of  line  than  on  sharply  outlined  detail*. 

Rankin  in  American  Journal  of  Archeology,  1895,  II.  (Orcagna.) 

Siren,  Giottino.  (List  of  Orcagna’s  works.) 

Reproduced  in  the  Burlington  Magazine,  1908,  and  in  Art  m America, 

. renson,  Florentine  Painters,  III  ed.  (Orcagna.) 

[ 40  ] 


AtfOADnO  osjjaO  ,awoi3  ia  AanaviA 
lalsS  InicS  .81 


Andrea  di  Cione,  Called  Orcagna 


14.  Saint  John  the  Baptist 


ANDREA  DI  CIONE,  CALLED  ORCAGNA 


15.  ADORATION  OF  THE  MAGI 

The  composition  is  developed  vertically,  not  horizontally  as  usual;  the 
main  scene  takes  place  half  way  up.  Here  the  Virgin  is  seated  under  a 
shed  and  the  three  kings  stand  or  kneel  before  her.  At  the  side  of  the 
Madonna  two  maidens  are  curiously  looking  at  the  gift  of  the  old  kneeling 
king.  A little  higher  up  is  the  manger  with  Joseph  watching  his  ox  and 
ass;  still  further  up  and  more  distant,  towards  the  background,  is  the  hill 
on  which  the  shepherds  are  receiving  the  glad  tidings.  Lowest  down  in 
the  foreground  are  gathered  the  horses  and  soldiers  forming  the  retinue  of 
the  kings.  All  these  scenes  are  taking  place  at  the  various  heights  of  a cliff, 
which  is  formed  in  steps. 

In  the  base  or  foot  part  of  this  picture  are  two  roundels  containing 
two  half-figures  representing  the  Annunciation. 

The  color-scheme  is  very  bright  with  red,  blue,  pink,  violet,  green, 
yellow  and  gray  as  the  principal  tones.  The  technical  execution  is  remark- 
ably fine.  The  preservation  is  excellent. 

Wood.  H.  39i/2  in.  W.  lli/8  in. 

Old  Catalogue  No.  15.  “Simone  Martini.” 

In  the  old  catalogue  we  read  further:  “This  picture  con- 
tains in  itself  all  the  beauty  of  pale  and  shadowless  color  and 
graceful  composition,  which  was  the  strength  of  the  Sienese 
School,  and  shows  much  of  the  freedom  of  drawing  which 
Duccio  and  Simone  introduced.”  This  statement,  as  far  as  it 
goes,  is  not  out  of  place,  but  it  does  not  justify  one  in  ascribing 
the  picture  to  a Sienese  artist.  The  picture  is  as  different  as 
it  can  be  from  Sienese  compositions.  Its  beauty  is  not  to  be 
found  in  a decorative  rhythm  of  line  against  a flat  background ; 
it  is  not  a silhouette  composition  devoid  of  space  and  depth, 
but  it  is  built  up  like  a relief  with  an  accentuation  of  the  dif- 
ferent plans,  although  carried  out  in  colors.  It  is  a direct  trans- 
lation into  painting  of  the  methods  of  relief  sculpture.  This 
alone  would  be  strong  evidence  of  the  fact  that  the  painter  must 
also  have  been  a sculptor. 


[ 41  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Proceeding  to  a closer  study  of  the  individual  figures,  our 
attention  is  attracted  by  the  strikingly  sculpturesque  treatment 
of  the  folds  of  the  drapery,  especially  in  the  figures  of  the 
Virgin  and  the  kneeling  king.  We  have  here,  on  a small  scale, 
the  same  sharply  broken  folds  that  can  be  studied  in  Orcagna’s 
large  altarpieces,  for  instance,  the  signed  one  in  the  Strozzi 
Chapel.  The  unusual  shape  of  the  picture  has  perhaps  been 
the  cause  of  a more  decided  attenuation  of  the  figures  than  is 
common  in  Orcagna’s  works,  but  any  one  familiar  with  the 
master’s  types  can  easily  identify  them  here.  Particularly 
in  evidence  are  the  long,  straight  nose  and  the  almond  eyes  set 
in  swollen  sockets.  The  kneeling  king  is  a close  relative  of 
Saint  Peter  in  the  Strozzi  altarpiece ; while  Mary  is  a sister  to 
the  Virgin  in  the  same  picture.  But  the  most  interesting  figures 
are  the  two  women — Salome  and  her  friend — who,  in  their 
curiosity,  are  examining  the  king’s  myrrh  box.  These  figures, 
as  well  as  the  soldiers  who  are  holding  the  horses,  show  a faculty 
of  observing  nature  of  which  there  is  but  slight  indication  in 
Orcagna’s  other  works.  Probably  the  picture  should  be  dated 
about  the  time  of  the  Strozzi  altarpiece,  that  is  to  say,  between 
1350  and  1360. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (“Not  Sienese.’’) 

Reproduced  in  Art  in  America,  1914. 


[ 42  ] 


Andrea  di  Cione,  Called  Orcagna 

15.  Adoration  of  the  Magi 


it* 


OF  THE  JAKYES  COLLECTION" 


r dmg  io  a closer  study  of  the  individual  figures,  our 
attenri’c;  !=?  exacted  by  the  strikingly  sculpturesque  treatment 

of  the  folds  of  the  drapery,  especially  in  the  figures  of  the 
Virgin  and  the  kneeling  king.  We  have  here,  on  a small  scale, 
the  same  sharply  broken  folds  that  coo.  be  studied  in  Orcagna’s 
large  altarpieces,  for  instance,  the  signed  one  in  the  Strozzi 
Chapel.  The  unusual  shape  of  o re  has  perhaps  been 

the  cause  of  a more  decided  attenuation  of  the  figures  than  is 
common  in  Orcagna’s  works,  but  any  one  familiar  with  the 
master’s  types  can  easily  identify  them  here.  Particularly 
in  evidence  are  the  long,  straight  nose  and  the  almond  eyes  set 
in  swollen  sockets.  The  kneeling  king  is  a close  relative  of 
Saint.  Pe  er  in  the  Strozzi  altarphee;  while  Mary  is  a sister  to 
Vii  g i n in  the  same  picture.  Bit  the  most  interesting  figures 
•men — Salome  and  her  friend— --who,  • in  their 


'!■  wo? ks,  i:T*c»  ■ h.y  . y>i<  o should  he  dated 
; of  the  Strozzi  altarpiece,  that  is  to  say,  between 


i.f 


ud  1360. 


Rankin  in  American  Journal  of  Archceology,  1895,  II.  (“Not  Sienese.  ) 
Reproduced  in’  Art  in  America,  1914.  / 


[ 42  ] 

at/ioajhO  cihjjaO  ,anoiO  ia  ASHCIVlA 
i^bM  to  aoiJfiiobA  .£! 


JACOPO  DI  CIONE 


Jacopo  di  Cione  was  the  younger  of  Andrea  Orcagna’s  two 
brothers  (the  name  of  the  older  was  Nardo),  and  his  artistic 
achievement  was  simpty  a declining  continuation  of  the  art  of  the 
older  brothers.  The  three  brothers  probably  worked  together  in 
the  same  studio  about  the  middle  of  the  century,  and  several  pic- 
tures were  thus  produced  in  cooperation.  It  is  sometimes  hard, 
even  impossible,  to  tell  with  absolute  certainty  which  of  the  three 
brothers  has  been  chiefly  responsible  for  a picture  from  their 
workshop,  but  as  a rule  we  feel  justified  in  attributing  the  weaker 
products  to  the  youngest  of  the  three,  Jacopo  di  Cione.  The  year 
of  Jacopo’s  birth  is  not  known;  he  does  not  seem  to  have  become 
an  independent  master  until  after  Andrea’s  death.  In  1369  he  is 
enrolled  in  the  Guild  of  the  Medici  and  Speziali;  until  then  he  had 
been  working  as  his  brothers’  apprentice,  and  we  know  that  he  in 
1368  undertook  to  finish  a picture,  representing  Saint  Matthew, 
which  Andrea  had  begun  for  Or  San  Michele.  In  the  following 
decade  (1370-1380)  Jacopo  worked  in  companionship  with  Niccolo 
di  Pietro  Gerini,  and  he  is  still  mentioned  in  1394,  a quarter  of  a 
century  after  Orcagna’s  death.  The  productivity  of  his  long  life 
seems  to  have  been  considerable;  it  was  not  the  quantity  but  the 
quality  which  declined  with  advancing  age. 


16.  MADONNA  SURROUNDED  BY  FOUR  SAINTS 

The  Virgin  is  seated  on  a raised  platform  and  around  her  stand  Saint 
John  the  Baptist,  Saint  Nicholas,  Saint  Dorothea  and  Saint  Reparata.  Above 
in  the  Gothic  pediment  is  represented  Christ  on  the  Cross  between  the  Virgin 
and  Saint  John,  who  are  sitting  on  the  ground.  The  Gothic  marble  throne 
on  which  the  Virgin  is  seated  is  placed  somewhat  towards  the  background, 


[ 43  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


and  the  saints  are  standing  rather  far  apart,  all  of  which  produces  a certain 
effect  of  space.  The  colors  are  vivid  blue,  cinnobar,  amethyst,  yellow  and 
green.  Gold  ground.  Original  Gothic  tabernacle. 

Wood.  H.  48 y2  in.  W.  21  y2  in.  (including  frame). 

Old  Catalogue  No.  31.  “Giottino.” 

The  figures  do  not  entirely  lack  sculpturesque  character; 
the  treatment  of  the  folds,  especially  of  John  the  Baptist’s 
mantle,  reminds  us  of  what  we  have  seen  in  Orcagna’s  pictures; 
but  the  saints  look  like  puppets  when  compared  with  Orcagna’s 
statuesque  forms.  The  types  are  rounder,  less  significant ; par- 
ticularly characteristic  of  the  Madonna  and  the  female  saints 
is  the  comparatively  long,  slightly  aquiline  nose.  The  same 
type  is  to  be  seen  in  Jacopo’s  most  authentic  works,  for  instance, 
the  Saint  Matthew  picture  in  the  Uffizi,  and  the  picture  of  San 
Giovanni  Gualberto  in  the  sacristy  of  Santa  Croce,  Florence. 
All  these  paintings  are  comparatively  early,  executed  probably 
before  1370. 

Rankin  in  American  Journal  of  Archceology , 1895,  II.  (School  of 
Giotto.) 

Siren,  Giottino.  (List  of  Jacopo  di  Cione’s  works.) 

Reproduced  in  the  Burlington  Magazine,  1908,  and  in  Art  in  America, 

1914. 

17.  NATIVITY  AND  RESURRECTION  OF  CHRIST 

The  two  motives  are  given  together  in  a continuous  landscape,  both  in 
the  simplest  possible  way,  with  only  the  most  necessary  figures.  In  the 
Nativity  we  see  the  Virgin  seated  on  the  ground,  holding  the  Child  in  the 
manger  with  both  hands,  while  Joseph  at  her  side  sits  asleep  and  two  shep- 
herds are  kneeling  in  adoration. 

The  Resurrection  is  represented  by  Christ  floating  in  the  air  above  the 
sarcophagus,  in  front  of  which  four  soldiers  are  sleeping.  Bare  and  rocky 

[ 44  ] 


. Jka> 


— >1  — < ■■■** 


Jacopo  di  Cione 

16.  Madonna  Surrounded  by  Four  Saints 


. rj:  OF  THE  JAR  YES  COLLECTION 

are  standing  rather  far  apart,  all  of  which  produces  a certain 
c;  ..  ,ace.  The  colors  are  vivid  blue,  einnobar,  amethyst,  yellow  and 
Gold  ground.  Original  Gothic  tabernacle. 

Wood.  H.  48%  in.  W.  21%  in.  (including  frame). 

Old  Catalogue  No.  31.  “Giottino.” 


The  figures  do  not  entirely  sculpturesque  character; 
the  treatment  of  the  folds,  especially  of  John  the  baptist  s 
mantle,  reminds  us  of  what  we  have  seen  in  Orcagna’s  pictures; 
bu  the  saints  look  like  puppets  when  compared  with  Orcagna’s 
St.-  uesque  forms.  The  types  are  rounder,  less  significant;  par- 
f ularly  characteristic  of  the  Madonna  and  the  female  saints 
comparatively  long,  My  aquiline  nose.  The  same 
is  to  be  seen  in  Ja  Me  works,,  for  instance, 

, >5  , tt hew  picture  .in  the  IJffizi,  and  the  picture  of  ban 
ye  ■ ,o  in  the  sacristy  of  Santa  Croce,  Florence, 

v el y early,  executed  probably 

i.  .. 


iWn  in  American  J ■ 


School  oi 


Giotto.) 

Siren  Giottino.  (List  < >po  di  Cione  s works.) 

Reproduced  in  the  Burlington  Magazine,  1908.  and  in  Art  in  America, 


1914. 


17.  NATIVITY  AND  EEE  EOTION  OF  CHRIST 

The  two  motives  are  v ' Iseape,  both  in 

the  simplest  possible  way,  with  only  the  most  ~y 

Nativity  we  see  the  Virgin  seated  on  the  ground,  holding  the  Child  m the 

"with  both  hands,  while  Joseph  at  her  side  sits  asleep  and  two  shop- 


herds  are  kneeling  in  adoration. 

The  Resurrection  is  represented  by  Christ  Boating  m 
ureophagus,  in  front  of  whieh  four  soldiers  are  sleeping. 


the  air  above  the 
Bare  and  rocky 


[ 44  ] 


avioiO  ia  ohooaL 

gjni b8  iuo'I  bsbnuoraig  ennobisM  .91 


/ 


— a 


JACOPO  DI  CIONE 


landscape;  gold  background  instead  of  open  sky.  The  picture,  which  has 
the  form  of  a low  triangular  pediment,  has  probably  originally  been  the  top 
part  of  some  large  altarpiece. 

Wood.  H.  15 y8  in.  W.  35%  in.  (including  old  frame). 

Old  Catalogue  No.  32.  “Giottino.  Said  to  come  from  the  Rinuccini 
Gallery.” 

The  remarks  made  about  the  style  of  the  previous  picture 
apply  also  essentially  to  this  little  panel,  though  it  seems  to 
be  somewhat  later  and  more  decadent.  Jacopo’s  hand  is  re- 
vealed most  evidently  by  the  types  with  the  long  curved  nose. 

Reproduced  in  Art  in  America,  1914. 


18.  THE  HOLY  TRINITY,  WITH  FOUR  SAINTS  IN 
ADORATION 

God  the  Father,  who  is  sitting  in  full  front,  holds  before  Him  Christ 
on  the  Cross;  and  on  the  top  of  the  Cross  floats  the  white  dove.  At  the 
sides  of  the  crucifix  are  seated  the  Virgin  and  Mary  Magdalen,  Saint  John 
the  Baptist  and  Saint  John  the  Evangelist.  The  colors  of  the  picture, 
mostly  different  shades  of  red  and  blue,  have  lost  their  brilliancy.  The  gold 
background  is  well  preserved,  the  original  Gothic  frame  is  in  good  condition. 

Wood.  Cleaned  and  restored  1915.  H.  42%  in.  W.  20  in.  (all  over). 

Old  Catalogue  No.  27.  “Attributed  to  Puccio  Capanna.” 

The  style  of  this  picture  is  that  of  the  Cione  workshop 
at  a comparatively  late  period,  probabiy  after  Orcagna’s  death. 
The  style  discernible  in  the  rather  uniform  long  types,  points 
to  some  follower  of  Orcagna,  and  we  are  surely  not  far  from 
right  in  attributing  the  painting  to  Jacopo  di  Cione.  Still,  it 
should  be  admitted  that  his  hand  is  not  so  evident  here  as  in 
the  two  previous  numbers,  the  types  having  a more  general 
Orcagnesque  character.  Some  other  secondary  master  working 
in  the  same  bottega  might  possibly  have  had  something  to  do 


[ 45  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


with  this  picture.  A similar  one  is  to  be  found  in  the  collection 
of  Mr.  R.  H.  Benson  in  London,  and  we  have  already  some  years 
ago  attributed  this  picture  to  Jacopo  di  Cione.  A third  one  is 
in  the  Vatican  Gallery;  it  shows  exactly  the  same  composition, 
but  is  executed  by  a somewhat  later  artist.  The  motive  was 
often  used  by  the  late  trecento  painters. 

Mentioned  in  Burlington  Magazine,  1908,  and  in  Art  in  America,  1914. 


[ 46  ] 


Jacopo  di  Cione 

18.  The  Holy  Trinity,  with  Four  Saints  in  Adoration 


..VTALOG-UE  OF  THE  JABVES  COLLECTION 

, ith  tiiis  picture.  A similar  one  is  to  be  found  in  the  collection 
0f  yu:  r.  H.  Benson  in  London,  and  we  have  already  some  years 
ago  attributed  this  picture  to  Jacopo  di  Clone.  A third  one  is 
in  the  Vatican  Gallery;  it  shows  exactly  the  same  composition, 
but  is  executed  by  a somewhat  later  artist.  The  motive  was 
often  used  by  the  late  trecento  painters. 

Mentioned  in  Burlington  Magazine,  1908,  and  in  Art  in  America,  1914. 


[ 46  ] 

awoiO  ia  ohooaL 

noilBiobA  ni  ainifig  -moa  dirw  .^JinhT  ’d°H  9[U  -81 


V 


GIOVANNI  DEL  BIONDO 


A Florentine  master,  active  during  the  latter  part  of  the  XIV 
century,  of  whom  we  as  yet  have  very  scanty  documentary  records, 
but  whose  style  and  artistic  personality  we  can  study  in  a number 
of  dated  and  signed  pictures.  A signed  Madonna  by  Giovanni  at 
Figline  was  first  published  by  Conte  Gamba  in  Rivista  d’Arte,  1907. 
Another  signed  Madonna  is  now  in  the  gallery  at  Siena.  The  earliest 
dated  picture  by  him  is  of  the  year  1372,  the  latest  from  1392. 
Giovanni  evidently  received  his  artistic  education  in  the  workshop 
of  Orcagna.  In  his  earlier  and  better  works  he  shows  a rather  close 
adherence  to  the  Orcagnesque  types  and  mode  of  draping;  but  he 
never  reaches  the  plastic  form  and  structure  characteristic  of 
Orcagna’s  own  figures.  Later  on,  in  the  seventies,  he  completed 
Giovanni  da  Milano’s  unfinished  frescoes  in  the  Cappella  Rinuccini 
in  the  sacristy  of  Santa  Croce,  Florence,  and  these  paintings  show 
evidence  of  declining  artistic  powers. 

19.  CHRIST  AND  THE  VIRGIN  ENTHRONED,  AT- 
TENDED BY  MUSIC-MAKING  ANGELS 

This  is  the  central  part  of  a large  altarpiece  with  rich  and  sumptuous 
colors.  The  two  main  figures  are  wearing  dark  blue  mantles  and  carmine 
red  tunics ; behind  them  is  extended,  by  seraphhns  and  cherubims,  a cinnobar 
red  carpet  with  leaf-  and  bird-pattern  in  gold.  The  kneeling  angels  in  the 
foreground  have  light  green,  yellow  and  white  mantles.  The  general  color 
harmony  is  very  bright  but  lacking  in  depth;  the  technical  execution  is 
careful.  In  the  pediment  above  the  Gothic  arch,  which  encloses  the  main 
composition,  are  represented  the  Christian  Church  and  the  Synagogue  in  the 
shape  of  allegorical  figures.  The  first  is  standing  at  the  side  of  a baptismal 
font  with  a chalice  in  her  hand,  while  the  Synagogue  is  represented  as  a blind- 
folded woman  escaping  with  a child  in  her  arms.  Original  Gothic  frame. 


[ 47  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Wood.  H.  72%  in.  W.  31%  in. 

Old  Catalogue  No.  5.  “Unknown  painter.”  It  is  further  stated  in  the 
catalogue  that 4 ‘ this  is  a most  admirable  specimen  of  the  better  Graeco-Italian 
work.  Its  painter  must  have  been  a man  of  great  ability  and  highly  trained 
in  the  Byzantine  science  and  legendary  learning.  ’ ’ 

Tliis  eloquent  praise  is  perhaps  a little  too  much  for 
Giovanni  del  Biondo.  We  know  him  as  a rather  simple  and 
commonplace  painter  through  his  signed  Madonna  pictures  in 
the  gallery  at  Siena  (dated  1377)  and  in  the  Misericordia 
Church  at  Figline  (dated  1392)  besides  a large  number  of  un- 
signed but  characteristic  works  scattered  over  Europe  in  public 
and  private  galleries.  The  earliest  in  date  are  two  large  repre- 
sentations of  the  Coronation  of  the  Virgin,  one  (dated  1372)  in 
Sir  Frederic  Cook’s  collection  in  Richmond,  another  in  the 
Museo  Bandini  at  Fiesole  (dated  1373).  Other  large  triptychs 
representing  the  Annunciation  and  saints  are  in  the  Academy 
in  Florence  and  in  the  gallery  of  the  Ospedale  degli  Innocenti 
(dated  1387).  But  this  is  hardly  the  place  to  enumerate  all  the 
works  of  this  very  prolific  painter. 

It  may  be  of  interest,  in  this  connection,  to  note  that  in 
the  altar-panel  which  Giovanni  del  Biondo  painted  for  the 
Cappella  Rinuccini  in  Santa  Croce  (1379)  he  reveals  the  same 
inclination  towards  theological  symbolism  which  we  have  ob- 
served in  the  Jarves  picture.  And  there  are  also  other  com- 
positions by  him  containing  accessory  figures  with  a purely 
theological  scope  and  no  artistic  meaning.  Besides  that,  he 
tries  to  give  his  saints  a marked  stamp  of  asceticism,  though 
their  gaunt  faces  and  staring  eyes  oftener  evoke  an  impression 
far  from  that  of  spiritual  enlightenment. 

Giovanni’s  stylistic  connection  with  Orcagna’s  school, 
pointed  out  above,  can  be  clearly  seen  in  this  Jarves  picture  and 


[ 48  1 


Giovanni  del  Biondo 

19.  Christ  and  the  Virgin  Enthroned,  Attended 
by  Music-Making  Angels 


catalogue  of  the  jarves  collection 

Wood.  H.  723/4  ill.  W.  31%  in.  . 

Old  Catalogue  No.  5.  “Uulmown  paiuter.”  It  is  further  stated  m the 
catalogue  that  “this  is  a most  admirable  specimen  ot  the  better  Graco-Ita  an 
wo*  Its  painter  must  have  been  a man  of  great  ability  and  highly  trained 
in  the  Byzantine  science  and  legendary  learning. 

Tins  eloquent  praise  is  perhaps  a little  too  much  for 
f+i  .vanni  del  Bioncjo.  We  know  him  as  a rather  simple  and 
oo-  in  .nplace  painter  through  his  signed  Madonna  pictures  m 
the  0-aUcry  at  Siena  (dated  1377)  and  in  the  Misericordia 
( 1Ur  >h  at  Eigline  (dated  1392)  besides  a large  number  ot  un- 
signed but  oh  fistic  works  scattered  over  Europe  m public 
and  private  gal  » The  earliest  in  date  are  two  large mepre- 
=<  o i Hons  of  the  Coroe  m,  one  (dated  1372) 

s.  ..  v'-ederic  Cook’s  collection  in  Richmond,  another  m the 
, , Vm  at  Piesole  (dated  1373).  Other  large  tnptyehs 
. , Annunciation  and  saints  are  in  the  Academy 
. and  in  the  gallery  of  the  Ospedale  degli  Innocenti 
. 1387).  But  this  is  hardly  the  place  to  enumerate  all  the 

works  of  this  very  prolific  painter.  , , . 

It  may  be  of  interest,  in  this  connection,  to  note  that  in 

the  altar-panel  which  Giovanni  del  Biondo  painted  lor  the 
(Spprfla  Rinuceini  in  Santa  Croce  (1379)  he  reveals  the  same 
mediation  towards  theological  symbolism  which  we  have  oh- 

served  in  the  Jaryes  picture.  4v 

positions  by  him  containing  accessory  hgnree  " __  1 £ 

theological  scope  and  no  artistic  meaning.  Besides  that,  ne 

tries  to  give  his  saints  a marked  stamp  of  as““  ^ 
their  gaunt  faces  and  staring  eyes  oftener  evoke  an  nnpiess 

far  from  that  of  spiritual  enlightenment. 

Giovanni's  stylistic  connection  with  Orcagna’s  school 
pointed  out  above,  can  be  clearly  seen  in  tins  Jarves  picture  an 

[ 48  ] 


oavioi8  Jaa  wwAVOix) 

babnsitA  .bsnoniJnH  nis'iiV  bns 
elsgnA  ■gnijIfiM-oiguM 


GIOVANNI  DEL  BIONDO 


also  in  two  large  altar  wings  in  the  Vatican  Gallery  represent- 
ing not  less  than  forty  saints.  These  wings  are  only  a little 
lower  than  the  central  panel  in  the  Jarves  Collection,  and  in 
style  they  correspond  very  well  with  it,  showing  the  same  types, 
the  same  hands,  the  same  mode  of  draping  and  even  the  same 
brocade  (compare  the  curtain  in  the  central  panel  with  Saint 
Lawrence’s  dalmatic).  It  seems  to  us  very  probable  that  the 
Vatican  wings  and  the  Jarves  picture  once  formed  together 
a large  altarpiece.  This  was  evidently  one  of  Giovanni  del 
Biondo’s  earliest  and  best  works,  probably  painted  about  1370. 

The  unusually  fine  state  of  preservation  which  distin- 
guishes this  large  picture  makes  it  also  especially  attractive 
and  interesting  as  a specimen  of  the  decorative  art  of  the 
Florentine  trecento. 

Engraved  in  Fumagalli,  Museo  di  Pittura  e Scultura  delle  Gallerie 
d’Europa,  vol.  XIII. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of 
Orcagna. ) 


[ 49  ] 


GHERARDO  STARNINA  ( ?) 


If  we  may  trust  Vasari’s  story  about  Stamina’s  life,  the 
painter  was  one  of  the  most  popular  and  famous  Florentine  artists 
at  the  end  of  the  XIV  century.  As  there  are  no  signed  pictures 
by  him,  however,  he  has  had  no  real  place  in  modern  art  history, 
but  we  believe  that  Stamina,  on  grounds  given  below,  may  be 
identified  with  a painter  usually  known  as  “II  Compagno  di  Agnolo 
Gaddi.  ’ ’ 

Stamina  is  said  to  have  been  born  in  1354  and  to  have  received 
his  artistic  education  under  Antonio  Veneziano.  Judging  from  the 
works  we  are  inclined  to  ascribe  to  Stamina,  the  main  factor  in 
the  development  of  his  style  seems  to  have  been  the  art  of  Agnolo 
Gaddi.  According  to  Vasari’s  statement  he  executed  a series  of 
frescoes  in  the  chapel  of  the  Castellani  in  Santa  Croce,  but  shortly 
after  became  involved  in  the  disturbances  of  the  Ciompi  (1378), 
and  had  to  fly  from  Florence.  He  journeyed  under  the  protection 
of  certain  merchants  to  Spain.  He  must,  however,  have  returned 
to  his  native  city  a few  years  later,  because  in  1387  he  appears  in 
the  Libro  dei  Pittori  of  Florence.  In  1406  he  painted,  according 
to  Albertini,  above  the  staircase  leading  to  the  Palazzo  della  Parte 
Guelfa,  a fresco  commemorative  of  the  sale  of  Pisa  to  Florence; 
and  in  1408  he  executed  certain  frescoes  in  San  Stefano  at  Empoli. 


20.  SAINT  MICHAEL,  SAINT  JAMES  AND  SAINT 
JULIAN 

Three  standing  figures  with  their  attributes.  Saint  Julian  is  wearing 
a light  blue  mantle  over  a cinnobar  red  tunic,  Saint  James  has  an  amethyst- 
colored  mantle,  Saint  Michael  a blue  mantle  over  a yellow  buff  coat.  The 
figures  have  originally  been  represented  in  full  length,  but  are  now  cut  off 


[ 51  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


three-quarter  length.  A new  piece  has  been  added  at  the  top  of  the  panel, 
and  the  whole  picture  has  been  cleaned  and  regilded  which  gives  to  the  bright 
colors  a glaring  lustre.  The  picture  evidently  once  formed  part  of  a large 
altar  triptych  serving  as  a wing  to  the  left  of  the  central  panel. 

Wood.  Id.  5314  in.  W.  38  in. 

Old  Catalogue  No.  21.  “Attributed  to  Taddeo  Gaddi.”  In  an  addi- 
tional note  of  the  catalogue  the  information  is  given  that  “this  picture  has 
been  ascribed  to  Stamina,  one  of  the  Giottesehi — a Florentine  who  lived  a 
little  later  than  Gaddi.” 

In  ascribing  this  picture  to  Taddeo  Gaddi  a confusion  has 
evidently  been  made  of  Taddeo  and  his  son  Agnolo ; the  figures 
show  many  of  the  characteristics  of  Agnolo’s  style.  Still,  they 
are  somewhat  weaker  and  looser  than  in  the  master’s  authentic 
pictures.  They  were  evidently  executed  by  a younger  artist 
under  the  influence  of  Agnolo  Gaddi.  This  painter  is  known 
among  art  historians  as  “Compagno  di  Agnolo.”  His  very 
uniform  works  are  found  in  many  public  and  private  collec- 
tions; for  instance,  in  the  Berlin  Museum,  in  the  Louvre,  in 
Santa  Catarina  a l’Antella,  in  Sant’Ansano  di  Fiesole,  in  San 
Marco  (Ospizio;  No.  5),  in  the  museum  at  Empoli,  in  San 
Lorenzo  in  Perugia,  in  the  Lantz  Collection,  Amsterdam ; Bone 
Collection,  Dusseldorff ; van  Stolk  Collection,  Haarlem; 
Martin  Le  Roy  Collection,  Paris;  Sir  Hubert  Parry  Collec- 
tion, Highman  Court;  D.  F.  Platt  Collection,  Englewood,  N.  J. ; 
and  many  other  collections. 

The  master  of  these  paintings  apparently  also  worked  on 
Agnolo’s  frescoes  in  the  choir  of  Santa  Croce,  executed  prob- 
ably about  1380  or  a little  later.  But  still  more  predominant 
is  the  soft  and  fluent  style  of  this  painter  in  the  frescoes  in  the 
Cappella  Castellani  in  Santa  Croce.  They  were  painted  during 
the  second  half  of  the  decade  1380-1390.  Vasari  tells  us  that 
Gherardo  Stamina  painted  the  frescoes  from  the  life  of  Saint 

[ 52  ] 


Gherardo  Starnina  (?) 

20'.  Saint  Michael,  Saint  James  and  Saint  Julian 


CATALOGUE  OF  THE  JARVES  COLLECTION 

three-quarter  length.  A\new  piece  has  been  added  at  the  top  of  the  panel, 
and  the  whole  picture  has  been  cleaned  and  regilded  which  gives  to  the  bright 
colors  a glaring  lustre.  The  picture  evidently  once  formed  part  of  a large 
altar  triptych  serving  as  a wing  to  the  left  of  the  central  panel. 

Wood.  H.  531/4  in.  W.  38  in. 

Old  Catalogue  No.  21.  “Attributed  to  Taddeo  Gaddi.”  In  an  addi- 
tional note  of  the  catalogue  the  information  is  given  that  “this  picture  has 
been  ascribed  to  Stamina,  one  of  the  Giotteschi — a Florentine  who  lived  a 
little  later  than  Gaddi.” 

In  ascribing  this  picture  to  Taddeo  Gaddi  a confusion  bas 
evidently  been  made  of  Taddeo  and  Ms  son  Agnolo ; the  figures 
show  many  of  the  characteristics  of  Agnolo  ’s  style.  Still,  they 
are  somewhat  weaker  and  looser  than  in  the  master’s  authentic 
pictures.  They  were  evidently  executed  by  a younger  artist 
under  the  influence  of  Agnolo  Gaddi.  This  painter  is  known 
among  art  Mstorians  as  “Compagno  di  Agnolo.”  His  very 
uniform  works  are  found  in  many  public  and  private  eehee 
tions;  for  instance,  in  the  Berlin  Museum,  in  the  Louvre,  in 
Santa  Catarina  a FAntella,  in  Sant’Ansano  di  Fiesole,  in  San 
Marco  (Ospizio;  No.  5),  in  the  museum  at  Empoli,  in  San 
Lorenzo  in  Perugia,  in  the  Lantz  Collection,  Amsterdam ; Bone 
Collection,  Lusseldorff ; van  Stolk  Collection,  Haarlem; 
Martin  Le  Roy  Collection,  Paris;  Sir  Hubert  Parry  Collec- 
tion, High  man  Court;  D.,F.  Platt  Collection,  Englewood.  N.  J.; 
and  many  other  collections. 

The  master  of  these  paintings  apparently  also  worked  on 
Agnolo’s  frescoes  in  the  choir  of  Santa  Croce,  executed  prob- 
ably about  1380  or  a little  later.  But  still  more  predominant 
is  the  soft  and  fluent  style  of  tMs  painter  in  the  frescoes  in  the 
Cappella  Castellani  in  Santa  Croce.  They  were  painted  during 
the  second  half  of  the  decade  1380-1390.  Vasari  tells  us  that 
Gherardo  Stamina  painted  the  frescoes  from  the  life  of  Saint 

(0  AmiLFfe  JoaHAHaHO 


neiluL  bins  asms!,  rlnieS  .bsrbiM  inieS  .'OS 


mgr  • 


GHERARDO  STARNINA  (?) 


Anthony  Abbot  and  Saint  Nicholas  in  the  Cappella  Castellani. 
And  Cavalcaselle,  accepting  this  statement  by  the  old  biog- 
rapher, advances  the  plausible  hypothesis  that  Agnolo  pos- 
sibly began  the  frescoes  but  left  them  to  be  finished  by  Stamina. 
(Storia,  Ital.  ed.,  vol.  II,  p.  229-234.)  The  pictures  mentioned 
above  as  works  by  a “Compagno  di  Agnolo”  are  not  noted  by 
Cavalcaselle,  but  if  he  is  right  in  accepting  Stamina  as  the 
master  of  the  Castellani  frescoes,  there  can  be  little  or  no  doubt 
that  Stamina  also  painted  a large  number  of  these  Madonnas 
and  altar  triptychs.  They  are,  moreover,  entirely  fitted  to  form 
the  connecting  link  between  the  last  Giotteschi,  Agnolo  Gaddi 
and  Antonio  Yeneziano,  and  the  first  quattrocentisti,  Lorenzo 
Monaco  and  Masolino. 


[ 53  ] 


NICCOLO  DI  PIETRO  GERINI 


This  painter  was  probably  born  about  or  shortly  before  the 
middle  of  the  century;  in  1368  be  was  enrolled  as  an  independent 
master  in  the  Compagnia  di  San  Luca  of  Florence.  In  1370  he 
received  a commission  for  a picture  for  the  high  altar  of  San  Piero 
Maggiore,  and  in  1372  he  began  another  large  picture  on  the  commis- 
sion of  the  officials  of  the  Florentine  mint  (la  Zecca).  This  picture, 
which  is  now  in  the  Uffizi,  was  finished  by  Jacopo  di  Cione.  In  1386 
he  worked  with  Ambrogio  di  Baldese  on  the  frescoes  on  the  faQade 
of  the  Bigallo  in  Florence.  In  1392  he  completed  a series  of  large 
frescoes  in  the  Chapter  House  of  San  Francesco  in  Pisa,  and  a few 
years  later  he  painted  another  large  series  of  frescoes  in  San 
Francesco  in  Prato.  In  1401  he  worked  with  his  son  Lorenzo  and 
Spinello  Aretino  on  an  altarpiece  for  the  church  of  Santa  Felicita 
in  Florence.  In  1408  and  1409  he  received  payments  for  fresco 
paintings  in  Or  San  Michele.  He  died  in  1415  while  he  was  working 
on  a picture  for  the  high  altar  of  Santa  Yerdiana,  Florence. 

Gerini,  aided  by  his  son  Lorenzo  and  some  other  younger 
painters,  kept  the  most  prolific  workshop  for  the  fabrication  of 
altar-panels  in  Florence  at  the  close  of  the  XIV  century.  Painting 
was  here  more  or  less  a trade  carried  on  through  a staff  of  workers. 
Many  of  the  products  of  the  Gerini  bottega  have  a rather  faint 
personal  character,  but  they  are  all  marked  in  a very  obvious  way 
by  the  style  of  the  firm  or  the  workshop.  The  father  and  the  son 
probably  not  seldom  worked  on  the  same  pictures. 

21.  THE  ANNUNCIATION 

The  Virgin  is  sitting  in  a Gothic  marble  throne  with  arms  crossed;  the 
angel  is  kneeling,  saluting  her  with  raised  hand.  Both  figures  appear  almost 
in  full  profile.  They  are  angular  and  stiff  in  their  movements  and  of  an 


[ 55  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


athletic  build;  the  angel’s  raised  arm  and  hand  are  immense.  The  Virgin 
wears  a dark  blue  mantle  over  an  amethyst-colored  robe.  The  angel  Gabriel 
has  a yellow  dalmatic  on  a pink  cloak.  The  throne  of  the  Virgin  is  partly 
covered  with  a red  carpet.  God  the  Father  is  represented  as  a small  figure 
over  the  angel.  He  sends  out  the  white  dove  towards  the  Virgin. 

The  picture  has  been  considerably  cut,  on  top,  at  the  bottom  and  at  the 
sides.  It  had  originally  no  triangular  pediment,  but  was  of  a broader  rec- 
tangular shape  which  better  fitted  the  large  and  angular  figures. 

Wood.  H.  42 y2  in.  W.  5iy2  in. 

Old  Catalogue  No.  19.  “Pietro  Cavallini. ” 

The  heavily  built,  angular  figures  with  schematic  types  and 
sharply  cut  features  are  entirely  characteristic  of  Niccolo  di 
Pietro  Gerini.  Similar  figures  are  found  in  all  his  paintings. 
A somewhat  smaller  Annunciation  with  exactly  the  same  Virgin 
and  the  same  angel  as  in  this  picture  belongs  to  the  Fitzwilliam 
Museum  in  Cambridge,  where  it  is  ascribed  to  the  school  of 
Taddeo  Gaddi.  Other  works  of  the  same  style  and  quality  can 
be  studied  in  the  Louvre,  No.  1623,  Coronation  of  the  Virgin, 
and  No.  1316,  a Madonna;  in  the  National  Gallery  (Baptism  of 
Christ),  and  in  several  Italian  museums  and  churches.  We 
only  mention  the  large  Madonna  on  the  high  altar  of  Santa 
Croce,  Florence,  because  the  picture  is  dated  1372.  The  rather 
close  stylistic  affinity  between  this  altarpiece  and  the  Jarves 
Annunciation  makes  it  probable  that  the  latter  picture  also 
dates  from  the  seventies. 

Mentioned  in  the  Burlington  Magazine,  1908. 


[ 56  ] 


4 


Nicoolo  DI  Pietro  Gerini 
21.  The  Annunciation 


CATALOGUE  OE  THE  JARVES  COLLECTION 

athletic  build;  the  angel's  raised  arm  and  hand  are  immense.  The  Virgin 
wears  a dark  blue  mantle  over  an  amethyst-colored  robe.  The  angel  (ratal* 
has  a yellow  dalmatic  on  a pink  cloak.  The  throne  of  the  Virgin  is  partly 
covered  with  a red  carpet.  God  the  Father  is  represented  as  a small  figure 
over  the  angel.  He  sends  out  the  white  dove  towards  the  V irgm. 

The  picture  has  been  considerably  cut,  on  top,  at  the  bottom  and  at  the 
sides.  It  had  originally  no  triangular  pediment,  but  was  of  a broader  rec- 
tangular shape  which  better  fitted  the  large  and  angular  figures. 

Wood.  H.  421/2  in-  51V2  in- 

Old  Catalogue  No.  19.  “Pietro  Cavallini. 

The  heavily  built,  angular  figures  with  schematic  types  and 
sharply  cut  features  are  entirely  characteristic  of  Niccolo  di 
Pietro  Gerini.  Similar  figures  are  found  in  all  his  paintings. 
A somewhat  smaller  Annunciation  with  exactly  the  same  Virgin 
imd  the  same  angel  as  in  this  picture  belongs  to  the : Fitzwilham 
lluseum  in  Cambridge,  where  it  is  ascribed  to  the  school  of 
Gaddi  Other  works  of  the  same  style  and  quality  can 
£ tJudied  in  the  Louvre,  No.  1623,  Coronation  of  the  Virgin, 
Sand  No  1316,  a Madonna;  in  the  National  Gallery  (Baptism  of 
I Christ),  and  in  several  Italian  museums  and  churches.  We 
Sonly  mention  the  large  Madonna  on  the  high  altai -oi  San  a 
Croce,  Florence,  because  the  picture  is  dated  1372.  The  rather 
close  stylistic  affinity  between  this  altarpieee  and  the  Jarves 
Annunciation  makes  it  probable  that  the  latter  picture  also 
dates  from  the  seventies. 

Mentioned  in  the  Burlington  Magazine,  1908. 


AMBROGIO  DI  BALDESE 


This  artist  has  been  almost  forgotten  because  no  signed  pictures 
by  him  are  known.  He  held,  however,  quite  an  important  position 
in  the  late  trecento  art  of  Florence.  Milanesi  has  published  several 
notices  about  Ambrogio  which  prove  that  he  was  much  appreciated 
and  entrusted  with  important  commissions  by  his  contemporaries. 
According  to  this  authority,  Ambrogio  was  born  in  1352  and  died 
October  30,  1429.  The  earliest  paintings  by  him  mentioned  in  con- 
temporary documents  are  the  frescoes  he  executed  together  with 
Niccolo  di  Pietro  on  the  facade  of  the  Bigallo,  or  foundling  hos- 
pital, in  Florence.  Payments  for  these  frescoes  are  entered  in 
the  records  of  the  Compagnia  della  Misericordia,  which  owned  the 
Bigallo,  under  the  years  1386,  1387,  1392 ; in  1407  he  restored  some 
paintings  for  the  same  Compagnia.  The  frescoes  were  appraised 
by  Lorenzo  Monaco  and  Mariotto  di  Nardo  in  1406,  and  as  will 
be  shown  below,  some  fragments  of  them  still  remain.  At  three 
different  epochs,  in  1389,  1409  and  1412,  he  executed  altar-panels 
for  different  chapels  in  San  Stefano  a Ponte  Vecchio,  but  these 
seem  all  to  be  lost,  or  at  least  not  as  yet  identified.  In  1411  he 
worked  again  with  Niccolo  di  Pietro  and  two  other  artists  on  some 
frescoes  in  Palazzo  del  Ceppo  in  Prato,  and  there  are  records 
of  certain  paintings  by  Ambrogio  for  the  Compagnia  di  Or  San 
Michele,  but  these  works  are  not  further  specified. 

Ambrogio  was  thus  a master  of  the  transition  period.  The 
main  character  of  his  style  is  that  of  the  late  trecento  art,  though 
the  greater  part  of  his  works  were  executed  during  the  first  decades 
of  the  quattrocento. 


[ 57  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


22.  TRIPTYCH  REPRESENTING  THE  MADONNA 
WITH  FOUR  SAINTS 

The  central  panel  is  occupied  by  the  Madonna;  the  left  wing  by  Saint 
Peter  and  Saint  Anthony  of  Padua;  the  right  by  Saint  Paul  and  Saint 
Anthony  the  Abbot.  The  Virgin  is  seated  on  a marble  throne  which  is  hung 
with  an  ornamented  red  carpet ; she  wears  a blue  mantle  over  a white  garment 
sown  with  gold  ornaments.  The  Child,  of  sturdy  build,  sits  on  the  mother’s 
knee,  kicking  with  His  feet  and  lifting  His  right  hand  to  give  a blessing  while 
He  grips  a little  bird  in  the  left.  Two  angels  are  at  the  feet  of  the  Madonna 
playing  viola  and  mandolin;  they  have  long,  floating  red  and  green  tunics. 
Saint  Peter,  who  is  provided  with  two  enormous  keys  and  a book,  wears  an 
orange-colored  mantle  over  a blue  tunic ; Saint  Anthony  of  Padua  has  a white 
frock;  he  is  holding  his  usual  attributes,  the  lily  and  the  book.  Saint  Paul, 
with  the  sword,  wears  a pink  mantle  over  a light  green  tunic,  and  Saint 
Anthony  the  Abbot  has  a monk ’s  frock  of  gray  and  black.  The  floor  on  which 
the  figures  are  standing  is  light  greenish,  the  background  gold.  The  three 
Gothic  pediments  are  decorated  with  medallions,  the  middle  one  containing 
an  image  of  Christ  with  the  open  book,  and  those  on  either  side  representing 
the  Annunciation. 

The  picture  has  evidently  gone  through  a rather  clumsy  restoration  at 
a comparatively  remote  time.  Large  parts  of  the  Virgin’s  mantle  and  white 
garment  are  overpainted  and  so  is  the  raised  hand  of  the  Child.  The  figures 
on  the  right  wing,  Saint  Paul  and  Saint  Anthony  the  Abbot,  are  also  partly 
restored,  while  the  saints  on  the  other  wing  are  comparatively  well  preserved. 
These  two  figures,  Saint  Peter  and  Saint  Anthony  of  Padua,  are  in  every 
respect  superior  to  the  rest  of  the  picture.  They  show  the  master  at  his  best. 

The  richly  carved  Gothic  tabernacle  which  frames  the  whole  triptych 
has  also  been  a good  deal  restored  and  entirely  regilded,  and  the  inscription 
on  the  footpiece  has  at  the  same  time  been  repainted. 

It  reads  now  as  follows : SCS  ALBERTUS.  SCS  PETRUS  APOSTOL. 
ANNO  DOMINI  MCCCLXX  DIE  XV  APRILE.  SCS  PAULUS  APOS- 
TOLUS. SCS  ANTONIUS  ABAS.  The  name  “Albertus”  was  probably 
originally  Antonius,  as  the  saint  is  clearly  characterized  with  his  attributes, 
and  the  year  was  evidently  not  1370,  but  possibly  1420.  The  whole  style  of 
the  picture  contradicts  the  earlier  date.  An  attempt  to  clean  the  footpiece 


[ 58  ] 


AMBROGIO  DI  BALDESE 


proved  that  the  inscription  was  quite  modern  and  no  traces  of  an  older 
inscription  were  found. 

Wood.  All  over,  H.  97  in.  W.  98*4  in.  Central  piece,  H.  64  in.  W.  29  in. 

Old  Catalogue  No.  16.  “Unknown  painter  of  the  Sienese  School.” 

The  catalogue  informs  us  that  the  picture  comes  from  the 
suppressed  convent  of  San  Martino  alia  Selve  at  Signa,  near 
Florence.  The  general  style  of  this  picture  gives  full  evidence 
as  to  its  date  and  origin.  It  is  closely  connected  with  the  crea- 
tions of  the  Gerini  bottega  in  Florence  at  the  beginning  of  the 
quattrocento,  but  is  at  the  same  time  marked  by  individual 
characteristics  which  make  the  master  distinguishable  from 
other  artists  of  Gerini ’s  following.  The  style  of  this  group  of 
painters  was  of  course  very  conservative  and  it  became,  espe- 
cially in  the  weaker  men,  schematized  to  a degree  which  makes 
all  distinction  between  earlier  and  later  works  next  to  im- 
possible ; but  there  is  no  possibility  of  mistake  as  to  the  general 
epoch  and  school.  Broadly  speaking,  the  epoch  includes  about 
half  a century,  from  1375  or  1380  to  1425  or  1430,  which  is  fully 
covered  by  the  activities  of  Niccolo  di  Pietro  Gerini  and  his 
pupils ; and  it  should  be  clearly  understood  that  these  painters 
were  at  that  time  by  far  the  most  prolific  and  popular  makers 
of  altarpieces  and  decorative  frescoes  for  the  churches  of 
Florence  and  its  neighborhood. 

Ambrogio  Baldese  belonged  to  the  set.  He  was  probably 
active  already  in  the  seventies  of  the  XIV  century,  though  we 
have  no  definite  records  of  his  works  before  the  middle  of  the 
eighties.  Of  the  frescoes  he  executed  at  that  time,  in  company 
with  Niccolo  di  Pietro  Gerini,  on  the  fagade  of  the  Bigallo  in 
Florence,  an  important  fragment  remains,  which  was  trans- 
ferred in  1777  from  its  original  place  to  the  interior  of  the 
building,  in  order  to  be  better  protected.  It  represents  some 


[ 59  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


of  the  wardens  of  the  hospital,  “i  capitani  della  Misericordia,  ” 
delivering  to  the  mothers  some  children  who  have  been  in  their 
care.  It  is  a kind  of  genre  scene,  very  unusual,  indeed,  in  the 
Florentine  trecento  art,  and  in  spite  of  its  restorations  it  is 
marked  by  a definite  individual  style.  As  stated  above,  the 
records  tell  us  that  it  was  painted  by  Niccolo  di  Pietro  and 
Ambrogio  Baldese  in  company.  The  former  painter  is  well 
known  to  us  through  a great  number  of  works;  his  harsh  and 
stilted  figures  are  always  easily  recognizable  by  any  one  who 
has  become  acquainted  with  them.  They  do  not  appear  in  the 
present  fresco  fragment,  and  consequently  we  are  justified  in 
assuming  that  this  painting  was  mainly  the  work  of  Ambrogio. 
Niccolo  di  Pietro  Gerini  acted  probably  in  this  case,  as  in  so 
many  other  similar  instances,  as  a contractor.  The  painting 
thus  offers  a basis  for  an  appreciation  of  Ambrogio ’s  style,  and 
for  further  attributions  to  the  same  painter. 

The  figures  in  this  fresco  are  remarkably  stout  and  sturdy ; 
they  are  not  quite  as  stiff  as  in  Gerini ’s  works,  their  forms  are 
fuller,  their  types  rounder.  The  children  in  particular  are 
most  characteristic,  with  their  stuffed  bodies  and  quadrangular 
faces,  and  among  the  women  in  the  fresco  we  may  draw  atten- 
tion to  the  one  furthest  to  the  left  who  stands,  with  two  boys  in 
front  of  her,  looking  out  of  the  picture.  She  resembles  closely 
the  Madonna  of  the  Jarves  triptych,  and  among  the  small  boys 
there  are  several  who  might  be  called  brethren  of  the  bambino 
in  the  same  triptych. 

The  stylistic  similarities  are  evident  enough  to  lead  us  to 
the  conclusion  that  the  painter  was  the  same  in  both  cases,  but 
to  prove  it  in  a conclusive  way  would  really  involve  a long 
review  of  several  painters  of  the  same  group,  and  that  would 
carry  us  too  far  in  this  connection.  Any  one  particularly 
interested  in  the  question  might,  however,  test  our  attribution 


[ 60  ] 


22.  Triptych  Representing  the  Madonna  with  Four  Saints 


m r 

tUJ'E  OF  THE  JARVES  COLLECTION 

o of  the  hospital,  “i  eapitani  deJla  Misericordia,” 
u.:.;  to  the  mothers  some  children  who  have  been  in  their 
It  is  a kind  of  genre  scene,  very  unusual,  indeed,  in  the 
Florentine  trecento  art,  and  in  spite  of  its  restorations  it  is 
marked  by  a definite  individual  style.  As  stated  above,  the' 
records  tell  us  that  it  was  painted  by  Niccolo  di  Pietro  and 
Ambrogio  Baldese  in  company.  The  former  -painter  is  well 
known  go  us  through  a great  number  of  works;  his  harsh  and 
stilted  figures  are  always  easily  recognizable  by  any  one  who 
has  become  acquainted  with  them.  They  do  not  appear  in  the 
| r at  fresco  fragment,  and  consequently  we  are  justified  in 
Jassui  r ; g that  this  painting  was  mainly  the  work  of  Ambrogio. 
Si  Niccolo  di  Pietro  Gerini  acted  probably  in  this  case,  as  in  so 
I many  other  similar  instan  es,  as  a contractor.  The  painting 
g t if 

| L 

„ _ figures  in  this  fresco  are  remarkably  stout  and  sturdy; 

zl  Q 

£ they  are  not  quite  as  stiff  as  in  Gerini ’s  works,  their  forms  are 

□ O 

filler,  their  types  rounder.  The  children  in  particular  are 
1 njost  characteristic,  with  their  stuffed  bodies  and  quadrangular 
faces,  and  among  the  women  in  the  fresco  we  may  draw  atten- 
£ tion  to  the  one  furthest  to  the  left  who  stands,  with  two  boys  in 

,Q 

§ front  of  her,  looking  out  of  the  picture.  She  resembles  closely 
jg  the  Madonna  of  the  Jarves  triptych,  and  among  the  small  boys 

(O 

there  are  several  who  might  be  called  brethren  of  the  bambino 
in  the  same  triptych. 

The  stylistic  similarities  are  evident  enough  to  lead  us  to 
the  conclusion  that  the  painter  was  the  same  in  both  cases,  but 
to  prove  it  in  a conclusive  way  would  really  involve  a long 
review  of  several  painters  of  the  same  group,  and  that  would 
carry  us  too  far  in  this  connection.  Any  one  particularly 
interested  in  the  question  might,  however,  test  our  attribution 


[ 60  ] 


■ 1 1! 


AMBROGIO  DI  BALDESE 


by  comparing  the  Jarves  triptych  with  photographs  of  paint- 
ings by  Niccolo  di  Pietro  Gerini,  Lorenzo  di  Niccolo,  Rossello 
di  Jacopo  Franchi  and  other  artists  of  the  same  group;  and 
finally,  with  a photograph  of  the  fresco  fragment  from  the 
Bigallo.  When  he  is  thoroughly  familiar  with  the  individual 
styles  of  these  minor  men,  we  trust  that  he  finally  will  come  to 
the  same  conclusion  that  we  have  reached  after  much  hesitation 
and  several  attempts  in  different  directions. 

The  connection  between  Ambrogio’s  fresco  and  the  Jarves 
triptych  is  strengthened  by  some  intermediate  links,  pictures 
which  may  be  dated  between  these  works  and  which  show  sty- 
listic affinities  with  both  of  them.  We  here  enumerate  some  of 
these  pictures,  in  order  to  show  that  there  is  a definite  artistic 
personality  of  whose  works  a sufficient  number  still  remain  to 
make  an  empirical  reconstruction,  and  further  attributions, 
possible. 

Boston,  Museum  of  Fine  Arts;  Storeroom:  Madonna  with 
Saint  Mary  Magdalen  and  Saint  John  the  Baptist.  Restored, 
background  regilded. 

Florence,  San  Marco;  Ospizio:  Large  altar  triptych  rep- 
resenting the  Madonna  with  Saint  Zenobio,  Saint  Mary  Magda- 
len, Saint  Francis  and  Saint  Catherine.  This  is  one  of  the 
master’s  most  important  creations. 

Ibidem:  Small  Madonna,  seated  on  a bank,  turned  full 

face.  The  Child,  half  reclining,  is  kicking  on  her  lap,  raising 
the  right  hand  to  give  a blessing  and  squeezing  a bird  in  the 
left.  This  very  sturdy  figure  recalls  the  Child  in  the  Jarves 
picture.  The  Virgin  is  broad  and  powerful,  more  carefully 
modelled  than  most  of  the  master’s  figures.  She  carries  us  over 
to  the  Madonnas  by  Masolino. 

Florence,  Uffizi ; Storeroom  No.  4608:  Saint  Michael,  Saint 
Bartholomew  and  Saint  Julian;  a kneeling  donor  at  the  feet  of 


[ 61  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Saint  Bartholomew.  The  three  figures  form  a rather  impressive 
triangular  composition;  their  broad  faces  and  stiff  hands  are 
characteristic  of  Ambrogio. 

Ibidem:  Madonna  with  the  Child. 

Florence,  Collection  A.  Corsi:  Madonna  with  the  Child. 

Fiesole,  Museo  Bandini;  Sala  I,  No.  29:  Two  wings  of 
an  altarpiece  representing  Saint  J ohn  the  Baptist,  Saint 
Anthony  Abbot,  Saint  Mary  Magdalen  and  a male  saint. 

Paris,  Trotti,  Place  Yendome  (1914) : Coronation  of  the 
Virgin.  Small  but  thoroughly  characteristic  painting  (with 
some  misleading  attribution). 

Philadelphia,  Mr.  Mcllhenny:  Madonna  surrounded  by 

six  saints.  She  is  holding  the  Child  on  her  left  hand  and  show- 
ing Him  a large  red  rose.  A charming  picture,  possibly  by  Am- 
brogio, but  hard  to  define  because  it  has  suffered  by  restoration. 

Through  all  these  works,  and  probably  others  which  still 
remain  hidden  under  false  attributions,  Ambrogio  appears  as 
a solid  and  careful  painter  with  a character  of  his  own.  He 
might,  besides  his  close  connection  with  Gerini,  have  been 
an  associate  of  Antonio  Veneziano — there  is  something  almost 
un-Florentine  in  the  stoutness  of  his  figures — but  he  reaches,  in 
his  mature  works,  forms  which  recall  not  only  men  like  Gio- 
vanni dal  Ponte,  but  even  Masolino.  The  best  example  of  tins 
comparatively  mature  and  full  form  is  the  small  Madonna  in 
the  San  Marco  Museum.  Among  the  younger  painters  of  the 
same  epoch  who  resemble  him  most  closely  should  be  mentioned 
Rossello  di  Jacopo  Franchi,  but  neither  he  nor  any  other  of 
these  comparatively  well-known  minor  men  of  the  early  quat- 
trocento attain  the  same  fullness  of  form  as  we  find  in  Ambro- 
gio Baldese’s  best  creations.  In  this  respect  he  sometimes 
comes  closer  to  the  new  men  of  Masaccio’s  and  Masolino ’s 
surroundings. 


[ 62  ] 


IN  THE  MANNER  OF  SPINELLO  ARETINO 


Spinello  di  Luca  Aretino  was  born  in  Arezzo  about  1333. 
He  painted  the  altarpiece  for  the  Camaldoli  in  Casentino  in  1361, 
and  worked  during  the  following  decade  mostly  in  Arezzo.  In  the 
eighties  he  painted  in  Florence;  1390-1392  in  Pisa;  1404-1410  in 
Siena.  He  died  in  March,  1410.  His  art  is  an  offspring  of  the  Gaddi 
school  and  rather  expressive,  especially  in  the  large  decorative  wall 
paintings  illustrating  legends  and  biblical  stories.  In  later  years 
he  associated  with  the  Gerini  people  and  his  work  became  somewhat 
perfunctory  in  character. 


23.  SAINT  MICHAEL  FIGHTING  THE  DEMONS,  AND 
A LEGENDARY  SUBJECT 

The  picture  is  divided  in  halves;  to  the  right  we  see  the  archangel, 
standing  on  the  dragon  of  hell  and  thrusting  a lance  into  his  open  jaws,  while 
a host  of  smaller  soldier-angels  drive  the  demons  down  a precipice.  To  the 
left,  some  riders  are  stopping  in  front  of  a locked  gate  which  leads  into  a 
mountain  cave.  An  old  man,  who  seems  to  be  the  gatekeeper,  is  talking  to  a 
small  boy  who  evidently  wishes  to  enter.  Higher  up  in  the  mountains  a caval- 
cade of  riders  is  approaching.  (Why  this  scene  has  been  called  “The  Vision 
of  Constantine”  remains  obscure  to  us.) 

Wood.  H.  14  in.  W.  29y2  in. 

Old  Catalogue  No.  34.  “Spinello  Aretino.” 

This  little  picture,  which  probably  is  a fragment  of  a pre- 
della,  has  at  some  remote  time  been  so  badly  overcleaned  and 
scratched  that  a definite  attribution  is  made  almost  impossible. 
Still,  from  what  remains  of  the  original  painting  it  seems  to 
us  quite  possible  that  it  might  have  been  a work  by  Spinello,  as 


[ 63  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


indicated  by  tlie  traditional  attribution.  The  broad  types,  with 
the  low  forehead  and  the  straight  nose,  recall  his  figures,  and 
there  is  also  something  distinctly  Spinellesque  in  the  composi- 
tion of  the  cavalcade  riding  through  the  mountain  pass.  Spi- 
nello  excelled  all  his  contemporaries  in  the  representation  of 
soldiers  and  horsemen  and  of  fights  on  land  and  sea.  But  as 
the  picture  is  almost  a ruin  it  gives  us  a very  faint  idea  of 
Spinello’s  fierce  and  courageous  spirit. 


[ 64  ] 


XV  CENTUBY 


(QUATTROCENTO) 


Lorenzo  Monaco 
34.  The  Crucifixion 


FLORENTINE  SCHOOL 


LORENZO  MONACO 

Very  little  is  actually  known  about  Lorenzo  Monaco’s  life,  the 
reason  of  this  probably  being  in  part  that  he  lived  in  seclusion  as  a 
Camaldolese  monk.  We  have  reason  to  assume  that  he  was  born 
about  1370  and  died  about  1425,  his  main  activity  thus  belonging  to 
the  first  quarter  of  the  XV  century.  There  are  several  dated  works 
by  Lorenzo  between  1404  and  1420.  It  seems  that  he  was  a Florentine 
by  birth,  and  received  his  first  training  in  the  art  of  painting  through 
Agnolo  Gaddi  or  some  other  contemporaneous  master  of  the  same 
group  in  Florence ; but  his  peculiar  style  was  definitely  formed  later, 
under  the  influence  of  Sienese  masters  of  the  school  of  Simone 
Martini,  like  Bartolo  di  Maestro  Fredi.  The  artistic  import  of 
Lorenzo’s  art  is,  in  fact,  more  Sienese  than  Florentine.  He  is 
intensely  emotional,  his  drawing  is  characterized  by  a rhythmic  flow 
of  line  which  leaves  little  room  for  materialistic  form.  It  is  most 
suggestive  of  his  religious  temperament,  and  often  highly  decorative. 
Lorenzo  Monaco  is  the  artist  who,  in  painting,  develops  the  late 
Gothic  linear  style  to  its  greatest  perfection;  many  of  his  composi- 
tions and  figures  can  indeed,  with  good  reason,  be  compared  to  Ghi- 
berti’s sculptures.  His  influence  on  several  of  the  contemporaneous 
and  younger  masters,  like  Fra  Angelico  and  Fra  Filippo  Lippi,  was 
very  important,  in  spite  of  the  conservative  character  of  his  art. 


24.  THE  CRUCIFIXION 

The  Cross  on  which  Christ  is  hanging,  his  figure  low  and  bending,  is 
raised  on  hare  rocky  ground.  The  Virgin  and  Saint  John  are  sitting  on  the 
ground  on  either  side  of  the  Cross,  entirely  prostrated  by  their  sorrow;  the 


[ 67  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Virgin  lifts  her  gaze  towards  Christ,  but  Saint  John  turns  his  head  away  not 
to  see  the  horrible  spectacle.  Two  pointed  rocks  serve  as  background  to  these 
figures,  their  curved  contours  forming  at  the  same  time  a pointed  arch  which 
answers  on  a smaller  scale  to  the  upper  arch  of  the  panel.  There,  at  the  top 
of  the  picture,  God  the  Father  appears  above  the  Cross.  Subdued  colors, 
gold  ground. 

Wood.  H.  25%  in.  W.  14%  in. 

Old  Catalogue  No.  18.  “Giotto.” 

Had  this  little  picture  not  suffered  by  a crack  running 
through  the  whole  panel,  from  the  top  to  the  bottom,  it  would 
be  one  of  the  most  refined  examples  of  Lorenzo  Monaco’s  art. 
Its  decorative  beauty  depends  principally  on  the  arrangement 
of  the  long  flowing  lines  of  the  rocks  and  the  mantles.  They 
form  rhythmic  waves,  more  or  less  corresponding  to  the  shape 
of  the  panel. 

The  composition  is  one  which  Lorenzo  has  used  several 
times,  with  some  variations  in  the  figures  at  the  foot  of  the 
Cross.  Most  similar  to  the  present  one  is  a little  picture  in  the 
collection  of  Mr.  Charles  Loeser  in  Florence,  which  shows  essen- 
tially the  same  arrangement  of  the  three  main  figures,  but 
without  God  the  Father.  A comparison  of  these  two  reveals, 
however,  a greater  flow  and  freedom  of  line  in  the  Jarves  pic- 
ture. The  painter’s  style  has  here  reached  a higher  degree  of 
expressiveness  and  beauty  than  in  the  Loeser  picture,  where  the 
figures  are  stiffer,  more  doll-like  and  less  intense  in  their  emo- 
tional expression.  Several  years  must  have  elapsed  between 
the  execution  of  the  two  pictures,  the  one  in  the  Loeser  Collec- 
tion being  comparatively  early,  probably  not  later  than  1405, 
whereas  the  Jarves  picture  must  be  dated  about  1412-1415,  that 
is  to  say,  the  time  when  Lorenzo  executed  the  very  large  Corona- 
tion of  the  Virgin  which  is  now  in  the  Uffizi.  Some  of  the  small 
predella  panels  under  this  large  altar  triptych  show  the  closest 


[ 68  ] 


25.  Saint  Francis  Receiving  the  Stigmata 


vrnLomEL  or  the  jarves  collection 

/•  her  gaze  towards  Christ,  but  Saint  John  turns  his  head  • . 

'•>  ' ■ ■ horrible  spectacle.  Two  pointed  rocks  serve  as  background  u« 

their  curved  contours  forming  at  the  same  time  a pointed  arch  whit  h 
vers  on  a smaller  scale  to  the  upper  arch  of  the  panel.  There,  at  r 
of  the  picture,  God  the  Father  appears  above  the  Cross.  Subdued  coic  s 
gold  ground. 

Wood.  H.  25%  in.  W.  14%  in. 

Old  Catalogue  No.  18.  “Giotto.”  ( 

Had  this  little  picture  not  suffered  by  a crack  running 
through  the  whole  panel,  from  the  top  to  the  bottom,  it  would 
a be  me  of  the  most  refined  examples  of  Lorenzo  Monaco’s  art. 
b Its  decorative  beauty  depends  principally  on  the  arrangement 
& of  the  long  flowing  lines  of  the  rocks  and  the  mantles.  They 
^ gform  rhythmic  waves,  more  ir  less  corresponding  to  the  shape 
I § the  \ ■ 

$ The  composition  is  one  which  Lorenzo  has  used  several 

§.  itimes,  with  some  variations  in  the  figures  at  the  foot  of  the 
| £,Cross.  Most  similar  to  the  present  one  is  a little  picture  in  the 
a collection  of  Mr.  Charles  Loeser  in  Florence,  which  shows  essen- 

to 

03  tially  the  same  arrangement  of  the  three  main  figures,  but 
% without  Grod  the  Father.  A comparison  of  these  two  reveals, 
however,  a greater  flow  and  freedom  of  line  in  the  Jarves  pic- 
ture. The  painter’s  style  has  here  reached  a higher  degree  of 
expressiveness  and  beauty  than  in  the  Loeser  picture,  where  the 
figures  are  stiffer,  more  doll-like  and  less  intense  in  their  emo- 
tional expression.  Several  years  must  have  elapsed  between 
the  execution  of  the  two  pictures,  the  one  in  the  Loeser  Collec- 
tion being  comparatively  early,  probably  not  later  than  1405, 
whereas  the  Jarves  picture  must  be  dated  about  1412-1415,  that 
is  to  say,  the  time  when  Lorenzo  executed  the  very  large  Corona- 
tion of  the  Virgin  which  is  now  in  the  Uffizi.  Some  of  the  small 
predella  panels  under  this  large  altar  triptych  show  the  closest 


[ 68  ] 


LORENZO  MONACO 


stylistic  affinities  with  the  present  picture.  Interesting  corre- 
spondences in  style  and  motive  are  also  to  be  found  in  Lorenzo’s 
large  figures  of  the  Christ  Crucified,  with  the  Virgin  and  Saint 
John,  in  San  Giovanni  dei  Cavalieri  in  Florence. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Scuola  di  Bartolo  di 
Fredi.) 

Siren,  Don  Lorenzo  Monaco,  pi.  34.  Fully  analyzed,  pp.  91-92. 

Berenson,  Florentine  Painters,  III  ed.  (Lorenzo  Monaco.) 


25.  ST.  FRANCIS  RECEIVING  THE  STIGMATA 

The  saint  is  kneeling  with  raised  arms  between  two  rocks.  Before  him 
Christ,  in  the  shape  of  a seraph,  is  floating  down,  and  the  golden  rays  which 
emanate  from  His  hands,  feet  and  side  touch  the  same  points  on  Saint  Francis’ 
body.  To  the  left,  in  another  opening  between  the  rocks,  Brother  Bonaventura 
is  watching  the  miracle.  Further  on  both  sides  small  buildings  are  seen  on 
the  summit  of  the  rocks  and  tall  pines  growing  in  the  valleys  between.  The 
colors  are  mainly  brown  and  dark  green ; gold  ground. 

Wood.  H.  11%  in.  W.  13%  in. 

Old  Catalogue  No.  28.  “Agnolo  Gaddi.” 

This  little  panel  has  possibly  originally  formed  part  of  a 
predella,  or  of  some  other  composite  picture.  In  style  it  comes 
very  close  to  Lorenzo  Monaco’s  earlier  works,— especially  is  the 
companion  brother  of  Saint  Francis  entirely  characteristic  of 
Lorenzo, — but  the  execution  of  the  picture  does  not  seem  quite 
fine  enough  to  be  by  the  master’s  own  hand.  It  does  not  show 
the  transparence  of  color,  nor  the  refinement  of  line  which 
distinguish  Lorenzo’s  authentic  creations;  and  may  therefore 
be  regarded  as  the  work  of  some  able  assistant  in  Lorenzo’s 
bottega. 


[ 69  ] 


Lorenzo  di  Niccolo 

26.  A Triptych 


ojoooiM  ia  osnafloJ 

rIoy,iqiiT  A .9S 


v«» 


LORENZO  DI  NICCOLO 


Son  and  pupil  of  Niccolo  di  Pietro  Gerini.  He  was  probably 
born  about  1370.  He  worked  with  his  father  in  Prato,  1392-1395, 
strongly  influenced  by  Spinello  Aretino.  In  1402  he  received  a com- 
mission to  paint  for  the  high  altar  of  San  Marco,  Florence,  the  picture 
which  is  now  in  San  Domenico  at  Cortona.  In  1410  he  was  inscribed 
in  the  Compagnia  di  San  Luca.  After  the  death  of  his  father,  Lo- 
renzo seems  to  have  come  more  under  the  influence  of  the  art  of 
Lorenzo  Monaco,  though  he  never  was  able  to  realize  fully  the  refine- 
ment and  suppleness  of  Lorenzo  Monaco’s  style.  He  is  mentioned  as 
still  living  in  1440,  thus  forming  one  of  the  links  between  the  old  Gad- 
desque  school  in  Florentine  painting  and  the  new  art  of  Masaccio’s 
following.  Lorenzo’s  art  is  the  product  of  a reactionary  rather  than 
of  a decadent  artistic  individuality;  he  always  remained  a careful 
and  solid  painter  of  old-fashioned  altarpieces. 


26.  MADONNA,  SAINTS  AND  CRUCIFIXION;  A TRIP- 
TYCH 

In  the  centre,  the  Madonna  sits  on  a cushion  with  the  Child  on  her  knee. 
He  is  playing  with  a gray  bird  that  is  perched  on  the  Virgin’s  lifted  finger. 
On  the  right  wing  is  represented  the  Crucifixion ; Mary  Magdalen  is  kneeling 
at  the  foot  of  the  Cross,  the  Virgin  and  Saint  John  are  standing  on  either 
side.  On  the  left  wing,  six  saints  stand  in  three  rows,  one  above  the  other: 
Saint  John  the  Baptist  and  Saint  James,  Saint  John  the  Evangelist  and  Saint 
Bernard,  Saint  Dorothea  and  Saint  Anthony.  At  the  top  of  the  wings  is 
represented  the  Annunciation. 

The  Virgin  wears  a dark  blue  mantle  over  a carmine  red  dress;  the 
saints  on  the  wings  have  pink,  yellow,  green,  gray  and  blue  mantles;  the 
colors  stand  out  deep  and  powerful  against  the  gold  ground.  The  picture 
is  as  a whole  in  good  condition,  only  the  colors  of  the  central  panel  having 


[ 71  1 


CATALOGUE  OF  THE  JARVES  COLLECTION 


been  rubbed  and  lost  their  brilliancy.  It  has  still  its  original  Gothic 
tabernacle. 

Wood.  H.  68%  in.  W.  60%  in.  (including  frame). 

Old  Catalogue  No.  22.  “Unknown  painter.” 

The  triptych  is  said  to  be  “one  of  the  most  important  pic- 
tures in  the  collection,”  which  is  true  with  regard  to  its  preser- 
vation but  not  in  regard  to  its  artistic  quality.  The  figures 
are  rather  clumsy  and  their  spiritual  import  is  scanty.  The 
types  of  the  Virgin  and  the  Child  are  very  much  like  those  in  an 
altarpiece  in  the  church  of  Terenzano  near  Florence,  signed  by 
Lorenzo  and  dated  1402.  The  six  saints  on  the  left  wing  remind 
us  still  more  closely  of  the  saints  in  Lorenzo’s  large  altarpiece 
in  Cortona,  the  Coronation  of  the  Virgin,  signed  and  dated  1401. 
The  sharp  drawing  of  their  straight  noses  and  narrow  eyes  is 
entirely  characteristic  of  the  master  and  so  is  the  stereotyped 
bent  position  of  the  heads.  The  Crucifixion  on  the  other  wing 
is  a more  dignified  and  expressive  representation  of  the  subject 
than  we  usually  find  in  this  class  of  late  trecento  paintings. 

Reproduced  in  the  Burlington  Magazine,  1908. 


27,  28.  TWO  ALTAR  WINGS 

Each  has  two  saints,  viz.:  Saint  Augustine  and  Saint  Lucia;  Saint 
Dominic  and  Saint  Agnes.  Saint  Augustine  is  wearing  a bishop’s  mantle 
of  green,  ornamented  with  a gold  pattern,  and  he  holds  the  staff  and  the  book 
in  his  hands.  Saint  Lucia  has  an  amethyst-colored  mantle  and  holds  a vase 
with  a flame  in  her  left  hand,  the  martyr ’s  palm  in  her  right.  Saint  Dominic 
has  his  black  frock  over  the  white  dress,  and  holds  a lily  and  a book  in  his 
hands.  Saint  Agnes,  who  is  standing  with  the  lamb  on  her  arm,  has  a 
cinnobar  red  mantle.  All  four  are  standing  on  green  carpets.  Gold  ground. 
Medallions  with  pictures  of  the  four  evangelists  in  the  pediments  of  the 
Gothic  frames. 


[ 72  ] 


. \ i ALOCrtTE  OF  THE  S'  E O’  .LECTION 

, 'bed  and  lost  their  brilliar  . ngmsl  Gothic 

tabernacle. 

Wood.  H.  68%  in.  W.  60%  in.  includes  h ■ 1 

Old  Catalogue  No.  22.  “Unknown  painter 

!%:■  triptych  is  said  to  be  “one  oi!  the  most  imporn-uv  nic- 
tun  c in  the  collection,”  which  is  true  with  regard  to  its  prv ser- 
in regard  to  its  artistic  quality.  The  fig 
are  . - clumsy  and  their  spiritual  import  is  scanty.  The 
vj.  (:  ; lie  Virgin  and  the  Child  are  very  much  like  those  in  an 
dtarpiece  in  the  church  of  Terenzano  near  Florence,  signed  by 
Lorenzo  and  dated  1402.  The  six  saints  on  the  left  -wing  remind 
us  still  more  closely  of  the  saints  in  Lorenzo’s  large  altarpiece 
in  Cortona,  the  Corona  l ion  of  the  Virgin,  signed  and  dated  1401. 
The  sharp  drawing  of  their  straight-  noses  and  narrow  eyes  is 
entirely  characteristic  of  the  master  and  so  is  the  stereotyped 
bent  position  of  the  heads.  The  Crucifixion  on  the  other  wing 
is  a more  dignified  and  expressive  representation  of  the  subject 
than  we  usually  find  in  this  class  of  late  ti  o paintings. 

Reproduced  ia  the  Burlington  Magazine , 1908. 


27 , 28.  TWO  ALTAI’  VTMIS 

Each  has  two  saints,  via. : Saint  Augustine,  and  Saint  Lucia;  Saint 
Dominic  and  Saint  Agnes.  Saint  Angustine  is  wearing  a bishop’s  mantle 
0f  green,  ornamented  with  a gold  pattern,  and  he  holds  the  staff  and  the  book 
in  his  hands.  Saint  Lucia  has  an  amethyst-colored  mantle  a;  - » 

with  a flame  in  her  left  hand,  the  martyr's  palm  in  her  right.  Saint  Dominie 
has  his  black  frock  over  the  white  dress,  and  holds  a lily  and  a book  m is 
hands.  Saint  Agnes,  who  is  standing  with  the  lamb  on  her  arm,  has  a 
oinnobar  red  mantle.  All  four  are  standing  on  green  carpets.  Gold  ground. 
Medallions  with  pietur ; of  the  four  evangelists  in  the  pediments  of  the 

Gothic  frames. 

[ 72  ] 


■ > i >i  i'\  t rr 


I 


LORENZO  DI  NICCOLO 


Wood.  Each  H.  44  in.  W.  28%  in.  (including  frames). 
Old  Catalogue  Nos.  23  and  24.  “Andrea  Orcagna.” 


These  figures  illustrate  a somewhat  later  stage  in  the 
development  of  Lorenzo  di  Niccolo ’s  art  than  the  triptych  de- 
scribed above.  Their  style  is  already  of  the  beginning  of  the 
XV  century,  the  time  of  Lorenzo  Monaco,  when  the  Gothic 
swing  began  to  dominate  the  lines  of  the  Florentine  saints.  The 
figures  are  somewhat  lanky;  their  heads  comparatively  small 
in  proportion  to  the  bodies,  but  the  types  are  easily  recognizable, 
showing  the  same  sharply  cut  features  as  the  saints  on  the  wing 
of  the  Madonna  triptych.  The  color-scheme  has  become  some- 
what brighter  and  more  lustrous.  Several  years  have  probably 
elapsed  between  the  execution  of  the  triptych  and  these  saints. 
The  former  picture  still  shows  a predominating  influence  of 
Lorenzo’s  father  Niccolo;  the  other  two  were  evidently  painted 
at  a time  when  Lorenzo  had  come  in  closer  contact  with  Lorenzo 
Monaco’s  art.  A large  triptych  representing  the  Coronation 
and  four  saints,  in  the  Cappella  Medici  in  Santa  Croce — dated 
1408 — which  is  traditionally,  and  with  good  reason,  attributed 
to  Lorenzo  di  Niccolo,  more  closely  approaches  these  saints  in 
style  and  feeling.  It  seems  at  least  evident  that  they  are  not 
earlier,  probably  a little  later,  than  this  dated  altarpiece. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (Orcagna.) 

Reproduced  in  the  Burlington  Magazine,  1908. 


[ 73  ] 


Lorenzo  di  Niccolo 


28.  Altar  Wing 


z 


MARIOTTO  DI  NARDO 


This  is  another  reactionary  personality,  working  during  the 
first  quarter  of  the  XV  century  but  still  continuing  the  stylistic  tra- 
ditions inherited  from  the  late  trecento  painters  in  Florence.  He 
was  the  son  of  a sculptor,  Nardo  di  Cione,  but  probably  learned 
craftsmanship  in  the  Gerini  workshop.  His  earlier  paintings  show 
close  stylistic  affinities  with  the  works  of  Lorenzo  di  Niccolo  and 
Jacopo  di  Cione.  Later  he  seems  to  have  felt  the  influence  of  Lorenzo 
Monaco’s  art  more  strongly.  The  earliest  dated  work  by  Mariotto 
known  to  us  is  an  altarpiece  in  San  Domenico,  a Villamagna  which, 
according  to  documentary  evidence,  was  executed  1394-1395.  In 
1398  and  1404  Mariotto  worked  for  the  Florentine  cathedral.  He  was 
enrolled  in  the  Guild  of  Saint  Luke  in  1408.  His  latest  work  is  a large 
altar  triptych  in  the  collection  of  Marchese  Serristori,  Florence, 
dated  1424.  The  same  year,  on  April  14,  he  made  his  will  and 
probably  died  shortly  afterwards. 

29.  SCENES  FROM  THE  LEGEND  OF  SAINTS  COSMO 
AND  DAMIAN 

These  two  youthful  saints,  called  the  ‘ ‘ silverless  healers,  ’ ’ were  regarded 
as  helpers  of  the  sick  and  the  rescuers  from  danger.  We  see  a woman 
invoking  their  help  at  an  altar  decorated  with  their  images  when  the  devil 
disguised  as  a priest  tries  to  lead  her  astray.  In  the  next  scene  she  is  return- 
ing homeward  on  horseback ; the  devil  is  again  at  her  side  pushing  her  from 
the  horse,  but  in  the  same  moment  the  two  helpers,  followed  by  angels,  float 
down  from  heaven  to  hold  her  up. 

The  object  of  her  journey  was  to  call  the  two  saints  to  help  her  husband 
who  had  an  incurably  diseased  leg.  Finally  we  see  them  performing  the 
operation  while  the  man  is  lying  asleep  on  his  bed  and  the  woman  is  sitting  at 
the  bedside,  also  asleep : the  two  doctors  replace  the  diseased  leg  by  that  of  a 


[ 75  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Moor  who  had  just  died.  The  colors  are  bright  but  have  lost  much  through 
old  restorations.  Gold  ground. 

Wood.  H.  9%  in.  W.  29  in. 

Old  Catalogue  No.  36.  “Lorenzo  di  Bicci. ” 

This  little  picture  has  evidently  formed  part  of  a predella 
under  some  altarpiece  dedicated  to  Saints  Cosmo  and  Damian. 
It  is  thoroughly  characteristic  of  Mariotto’s  later  period,  when 
his  drawing  became  rather  loose  and  weak,  the  figures  being 
more  or  less  structureless  dolls  in  fluttering  draperies.  Very 
close  stylistic  references  to  this  little  picture  may  be  observed 
in  the  long  predella  in  the  Academy  in  Florence  (No.  141), 
representing  scenes  from  the  life  of  the  Virgin.  Both  pictures 
reveal  some  parallelism  with  Lorenzo  Monaco’s  works,  though 
in  a rather  coarse  form.  They  probably  were  painted  in  the 
second  decade  of  the  XV  century. 

Reproduced  in  the  Burlington  Magazine,  1908. 


[ 76  ] 


Mariotto  di  Nardo 

I.  Scenes  from  the  Legend  of  Saints  Cosmo  and  Damian 


[ .logitb  op  the  jaeyes  collection 

imd  just  died.  The  colors  are  bright  but  have  lost  mueh  throng 
: (rations.  Gold  ground. 

’Wood.  H.  9%  in.  W,  29 

Old  Catalogue  No  ' __  Lorenzo  di  Bieei. 

This  little  picture  has  evidently  formed  part  of  a predelia 
under  some  altar  piece  dedicated  to  Saints  Cosmo  and  Damian 
It  is  thoroughly  characteristic  of  Mariotto’s  later  period,  when 
his  drawing  became  rather  loose  and  weak,  the  figures  being 
more  or  less  structureless  dolls  in  fluttering  draperies.  ei y 
close  stylistic  references  to  this  little  picture  may  be  observed 
in  the  long  p|edella  in  the  Academy  in  Florence  (No.  141), 
representing  |enes  from  the  life  of  the  Virgin.  Both  pictures 


reveal  some  p|rallelism 
in  a rather  ctfarse 


second  decade 
Reproduced 


• nzo  Monaco’s  works,  though 

; v w T'  ■ tinted  in  the 

r A **  ' * A 


§ 

SQ 

> 

s 


xv 


OAfi 


S.  5 


[ 76  ] 


GIOVANNI  DAL  PONTE 


This  painter  was  a younger  contemporary  of  Lorenzo  Monaco, 
under  whose  influence  his  style  was  formed.  He  was  born  in  Flor- 
ence in  1385  and  died  in  1437.  The  name  of  “dal  Ponte”  he  received 
from  the  situation  of  his  workshop  close  to  Ponte  Vecchio.  Theie 
are  no  signed  works  known  by  him,  but  according  to  documentary 
evidence  he  painted  some  frescoes  in  the  chapel  left  of  the  choir  in 
Santa  Trinita,  Florence.  As  the  style  of  these  frescoes  is  strikingly 
individual  it  has  become  possible  to  attribute  to  the  same  painter  a 
number  of  easel  pictures,  most  of  which  are  to  be  found  in  Florence 
or  its  neighborhood. 

Vasari  in  one  of  his  Vite  confounded  Giovanni  dal  Ponte  with 
Jacopo  da  Casentino  (an  older  painter),  and  that  is  the  reason  why 
the  latter  name  very  often  has  been  used  for  works  by  Giovanni. 
This  artistic  personality  has  thus  been  known  only  under  a false 
name  until  recent  years.  Full  documentary  evidence  of  his  life  was 
published  by  Herbert  P.  Horne  in  the  Burlington  Magazine , August, 
1906. 

30.  SAN  GIOVANNI  GUALBERTO  AND  HIS  ENEMY 
BEFORE  THE  CRUCIFIX  IN  SAN  MINIATO  AL 
MONTE 

The  crucifix  above  the  altar  is  bowing  to  them  in  token  of  approval. 
The  saint,  who  has  thrown  away  his  weapons,  is  raising  the  enemy  from  his 
kneeling  position  before  the  altar.  The  painter  has  thus  combined  two  inci- 
dents which,  according  to  the  legend,  took  place  at  different  times : the  recon- 
ciliation of  the  two  men,  and  the  miracle  of  the  bowing  crucifix.  At  the 
entrance  to  the  church  a soldier  is  holding  the  knight’s  black  horse.  The 


[ 77  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


standing  figure  wears  a cinnobar  red  costume,  the  kneeling  man  a blue  coat; 
the  architecture  is  painted  in  greenish  and  gray  tones.  Gold  ground. 

Wood.  H.  14!/2  in-  W.  22%  in. 

Old  Catalogue  No.  30.  “Jacopo  da  Casentino.” 

The  attribution  of  the  old  catalogue  is  well  accounted  for 
by  the  above-mentioned  fact  that  most  of  Giovanni’s  works 
have  been,  since  Vasari’s  times,  attributed  to  Jacopo  da  Cas- 
entino, in  spite  of  Jacopo  being  a master  of  the  middle  of  the 
XIV  century,  while  Giovanni  worked  at  the  beginning  of  the 
next  century.  Giovanni’s  hand  is  easily  recognizable  in  the 
somewhat  harsh  and  powerful  figures  with  sharply  cut  types, 
marked  by  long  noses,  and  in  the  bright  coloring,  especially 
the  luminous  cinnobar  red.  As  a good  example  for  compari- 
son may  be  mentioned  a Madonna  surrounded  by  angels  in  the 
Fitzwilliam  Museum  in  Cambridge ; the  characteristic  type  with 
the  long  aquiline  nose  is  here  most  evident.  The  brightly 
colored  predella  in  the  Uffizi,  representing  scenes  from  the  life 
of  Saint  Peter,  offers  also  stylistic  correspondences  with  the 
present  picture,  though  it  shows  a bolder  sweep  of  line  and 
a more  monumental  composition.  Giovanni  dal  Ponte  is  as 
a whole  a transitional  master  of  great  interest;  in  his  work 
influences  meet,  both  from  the  late  Gothic  school  and  from  the 
new  naturalistic  art,  inaugurated  by  Masaccio. 

Reproduced  in  the  Burlington  Magazine,  1908. 


[ 78  ] 


^-fi.Cir*'.  A 

■■■  ■ •■  •» 

' . . . : 

vl^Hi 


v;^  ;^  ,r 

. .J9Hh 


m 


®SS 


grange 


fv 

•■PW 

: ^W*  ’ _ 


P ;V  If 


•4P? 


jafiSfiBBCTO 


San  Giovanni  Gualberto  and  His  Enemy 


•:  aTALOGUE  OF  THE  JARVES  COLLECT!'.  >S 

standing  figure  wears  a einnobar  red  costume,  tho.  toweling  man  a blue  «wt 
the  architecture  is  painted  in  greenish  and  gray  tones,  ‘cud  grunnr . 

Wood.  H.  141/2  in.  W.  22%  in. 

Old  Catalogue  No.  30.  “Jacopo  da  Casentino.' 


£3 


The  attribution  of  the  old  catalogue  is  well  accounted 
by  the  above-mentioned  fact  that  most  of  Giovanni’s  works 
have  been,  since  Vasari’s  times,  attributed  to  Jacopo  da  Cas- 
entino,  in  spite  of  Jacopo  being  a master  of  the  middle  of  tl 
XIV  century,  while  Giovanni  worked  at  the  beginning  0 e 
;next  century.  Giovanni’s  hand  is  easily  recognizable  in  the 
somewhat  harsh  and  powerful  figures  with  sharply  cut  types, 
marked  by  long  noses,  and  in  the  bright  coloring,  especially 
the  luminous  einnobar  red.  As  a good  example  or  compari 
s«n  may  be  mentioned  a Madonna  surrounded  by  angels  m the 
ittzwiUiam  Museum  in  Cambridge ; the  characteristic  type  with 
the  long  aquiline  nose  is  here  most  evident.  The  bngh  y 
I nredel  a in  the  Uffizi,  representing  scenes  from  the  life 
s .....  . A ...  o^ers  also  stylistic  correspondences  with  the 
I ieture  though  it  shows  a bolder  sweep  of  line  and 

....  aonmnental  composition.  Giovanni  dal  Ponte  is  as 
a whole  nsitional  master  of  great  interest;  m Ins  work 
influences  mew  both  from  the  late  Gothic  school  and  from  the 
new  naturalist  e art,  inaugurated  by  Masaccio. 


a 

£0 

o_ 

O 


Reproduced  in  the  Burlington  Magazine , 1908. 


CV) 


c 

cc 


[ 78  ] 


ANDREA  DI  GIUSTO 


The  full  name  of  this  painter  was  Andrea  di  Giusto  di  Manzini, 
but  he  signed  himself  simply  Andreas  de  Florentia  on  a picture  dated 
1437  and  now  conserved  in  the  storeroom  of  the  Uffizi.  According 
to  contemporary  documents  he  worked  in  1424  with  Bicci  di  Lorenzo 
in  Florence.  In  1427  he  assisted  Masaccio  at  Pisa.  In  1436  he  under- 
took the  commission  of  painting  an  altarpiece  for  Santa  Lucia  de 
Magnoli  for  the  price  of  60  fiorini.  Towards  the  end  of  his  life  he 
executed  certain  frescoes  from  the  life  of  Saint  Stephen  and  Saint 
Lawrence,  in  the  cathedral  at  Prato.  He  died  September  2,  1455. 

Andrea  di  Giusto  remained  his  whole  life  a poor  compilator  and 
never  succeeded  in  forming  an  individual  style  of  his  own.  His 
pictures  from  different  epochs  are  evident  proofs  of  his  vain  attempts 
to  imitate  the  great  masters  of  that  time.  First  he  was  under  the 
influence  of  Masaccio,  but  later  on  Lorenzo  Monaco  and  Fra  An- 
gelico became  his  models.  There  are  paintings  by  Andrea  which  are 
almost  copies  of  works  by  these  masters,  but  his  hand  is  always 
recognizable  in  the  very  marked  defects,  such  as  the  deformed  hands, 
the  insipid  long  faces  with  the  oblique  noses,  and  the  staring  eyes. 


31.  THREE  SAINTS:  SAINT  ZENOBIO,  SAINT  FRAN- 
CIS AND  SAINT  ANTHONY 

All  three  stand  turned  towards  the  left.  The  picture  has  evidently 
formed  the  right  wing  of  some  large  altarpiece ; the  top  of  it  has  been  cut  off. 
Saint  Zenobio  is  wearing  a bishop’s  mantle  of  dark  violet,  Saint  Francis  a 
brown,  and  Saint  Anthony  a gray  frock.  Gold  ground. 

Wood.  H.  3014  in.  W.  18%  in. 

Old  Catalogue  No.  40.  “Fra  Angelico.” 


[ 79  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


This  picture  shows  Andrea  di  Giusto’s  style  in  its  most 
Fra  Angelico-like  aspect.  It  approaches  most  closely  to  the 
picture  in  the  storeroom  of  the  Uffizi  signed  Andreas  de  Flor- 
entia  and  dated  1437.  It  exemplifies  the  highest  quality  of 
workmanship  ever  attained  by  Andrea.  According  to  informa- 
tion communicated  by  Mr.  Langton  Douglas,  a corresponding 
wing  of  the  same  size  and  style  as  the  present  one  is  in  the 
possession  of  Mr.  E.  S.  Sidney  at  Richmond,  England.  Both 
panels  were  originally  parts  of  some  large  altar  triptych. 

Described  in  the  Burlington  Magazine,  1908. 

Crowe  and  Cavalcaselle,  History,  ed.  L.  Douglas,  vol.  IV,  p.  64. 


[ 80  ] 


Andrea  di  Giusto 

31.  Three  Saints:  Saint  Zenobio,  Sa,int  Franei;  and  Saint  Anthony 


' ME  JARVES  COLLECTION 

picture  shows  Andres,  di  Giusto  s-  style  in  its  m 
jlico-l  ke  a jpect.  It  approaches  most  closely  to 
)ictur€  in  the  storeroom  the  Uffizi  signed  Andreas  de  Ftor- 
oiitia  and  dvr, A 1437.  It.  exemplifies  the  highest  quality  of 
workman  ever  ai  According  to  informa- 
tion communicated  by  Douglas,  a corresponding 

wimr  the  same  size  and  style  as  the  present  one  is  in  the 
pose  on  of  Mr.  E.  S.  Sidney  at  Richmond,  England.  Roth 
were  originally  parts  of  some  large  altar  triptych. 

1 Described  in  the  Burlington  Magazine , 1908. 

Cf owe  and  Cavalcaselle,  History,  ed.  L,  Douglas,  vol.  IV,  p.  64. 


[ 80  ] 


otsuiO  ia 
:Dnfi-ir!  iiilfVd  * 


ahhct/iA 

oidonsS  InieB  -.iinisZ  99idT 


.18 


MANNER  OF  ANDREA  DI  GIUSTO 


32.  THE  AGONY  IN  THE  GARDEN 

Christ  is  kneeling  in  the  midst  of  a rocky  landscape  receiving  the  chalice 
of  suffering  from  an  angel  who  is  floating  down  towards  Him.  In  the  left- 
hand  corner  of  the  picture  the  three  sleeping  apostles  are  sitting  on  the 
ground  and  leaning  against  each  other.  They  wear  mantles  in  red,  pink  and 
yellow  tones;  Christ  has  a blue  mantle.  The  landscape  is  brown. 

Wood.  H.  11%  in.  W.  1534  in. 

Old  Catalogue  No.  29.  “Unknown  painter,  of  the  school  of  Taddeo 
Gaddi.” 

This  little  picture  is  of  very  inferior  quality;  its  style  is 
so  commonplace  and  without  definite  character  that  it  hardly 
can  be  attributed  with  certainty  to  any  known  master.  It 
shows,  however,  certain  peculiarities  in  the  treatment  of  the 
wavy  draperies  and  the  oblique  types  which  point  towards 
Andrea  di  Giusto. 


[ 81  1 


CATALOGUE  OF  THE  JARVES  COLLECTION 


sides  are  rushing  between  the  riders  to  take  care  of  the  horses  and  assisting 
their  lords  in  different  ways.  Several  of  the  participants  in  the  tournament 
are  to  be  distinguished  not  only  by  their  coats  of  arms  but  also  by  the  names 
written  on  the  trappings  of  the  horses ; for  instance  Scipione,  Antonio,  Fran- 
cesco, Sernoco,  Carloto.  There  are  in  all  about  one  hundred  and  twenty-five 
figures  in  this  picture. 

The  color-scheme  is  opaque ; the  horses  are  mostly  black,  light  gray  and 
white ; the  men  have  many-colored  costumes,  but  most  of  them  are  dark ; the 
architectural  parts  are  grayish  and  pink,  the  board  fence  yellow;  gold  is  used 
onjy  very  sparingly  in  ornamentation. 

Wood.  H.  19%  in.  W.  62%  in. 

Old  Catalogue  No.  45.  “Dello  Delli.” 

The  unusual  interest  and  value  of  this  picture  are  chiefly 
dependent  on  its  illustrative  qualities.  It  is  probably  the  best 
illustration  of  its  time,  now  existing,  of  one  of  the  great  Flor- 
entine tournaments  which  were  regarded  as  the  principal  fea- 
tures at  great  festival  occasions.  It  has  been  suggested  by 
Professor  P.  Schubring  that  the  picture  represents  the  tourna- 
ment held  in  1439  during  the  festivities  arranged  in  the  honor 
of  Pope  Eugenius  IV  and  the  Greek  members  of  the  Council 
of  Ferrara  who  moved  over  to  Florence.  The  suggestion  is 
acceptable,  at  least  in  regard  to  the  epoch  of  the  picture. 

The  style  of  the  painting  is  marked  by  a remarkable  ease 
and  liveliness  in  handling  the  small  figures  in  excited  action. 
The  painter  manifests  a very  keen  power  of  observation  and 
considerable  ability  in  suggesting  momentary  impressions. 
The  horses  form  the  least,  naturalistic  part  of  the  picture ; they 
are  done  in  accordance  with  Uccello’s  somewhat  wooden  models. 
The  painter  lias  evidently  also  aimed  at  some  perspective  con- 
struction, but  was  in  this  regard  less  successful.  The  figures 
in  the  foreground  are  evidently  drawn  on  a smaller  scale,  in 
order  to  give  more  importance  to  the  principal  scene.  This- 


[ 84  ] 


0 

> 

o 

.J 

<4-1 

o 

c 

03 

7D 

i- 

cG 

O 

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H 


t- 

«o 


O 

03 

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3 

O 


Florentine  Painter  About  1440 


jon unririeuf  w (]ie  jjisrsxsr  gnufsr  qlocg1  j^jolgucg  (qsbsoijg) 
j^rOHEMXIME  J/flMXEB  yBOflX  If  f 0 


CATALOGUE  OF  THE  JAR  YES  COLLECTION 


sides  are  rushing  between  the  riders  to  take  care  of  the  horses  and  assisting 
their  lords  in  different  ways.  Several  of  the  participants  in  the  tournament 
are  to  be  distinguished  not  only  by  their  coats  of  arms  but  also  by  the  names 
written  on  the  trappings  of  the  horses;  for  instance  Se  ; ' ' donio,  Fran- 

cesco. Sernoco.  Carloto.  There  are  in  all  about  one  hundred  mmty-five 
figures  in  this  picture. 

The  color-scheme  is  opaque;  the  horses  are  mostly  black,  i 
white;  the  men  have  many-colored  costumes,  but  most  of  them  are  da:: 
architectural  parts  are  grayish  and  pink,  the  board  fence  yellow;  gold  is  use  : 
only  very  sparingly  in  ornamentation. 

Wood.  H.  IS ki  W.  62%  in. 

Old  Catalogue  No.  45.  “Dello  Belli.” 


The  unusual  interest  ■ : ■ 
dependent  on  its  iliustral  o 
illustration  of  its  time,  now  e: 
entine  tournaments  which  wei 
tures  at  great  festival  occasi 


rm 


o 

U 

o 

a 

CD 

cr 


oof  this  picture  are  chiefly 
’ nrohably  the  best 
: ■ o?.t  Flor- 


T> 


o 

CD 


> 

5 

> 

> 

Q 

a 

a 

H 

S 

a 

o 


or 


jsents  the  iou.nx&~ 


he  fes&vijies  arranged  in  the  honor 
members  of  the  Council 


3 I 

frence.  The  suggestion  is 
J^och  of  the  picture. 

• a remarkable  ease 


rrrU/'u 


^,s  form  the  Far:  a 'its  lie  part  of  the  picture : lacy 

■ in  accordance  with  U ccello ’s  somewhat  n models, 

ter  has  evidently  also  aimed  at  some  perspective  con- 
, but  was  in  this  regard  less  successful.  The  figures 
reground  are  evidently  drawn  on  a smaller  scale,  in 
;rive  more  importance  to  the  principal  scene.  This 


[ 84  ] 


FLORENTINE  PAINTER  ABOUT  1440 


deliberate  disregard  of  relative  proportion  adds  to  the  decora- 
tive value  and  psychological  interest  of  the  picture. 

As  already  stated,  this  picture  belongs  to  a group  of  cassone 
paintings  of  which  one  is  in  the  Boston  Museum  and  four  in  the 
Musee  Cluny  in  Paris  (Nos.  1707, 1708, 1710, 1711) ; these  repre- 
sent motives  from  ancient  history,  partly  the  story  of  ^Eneas. 
Professor  Schubring  informs  us  that  there  are  other  works  by 
the  same  artist  in  the  Victoria  and  Albert  Museum  in  London 
(1859,  5804,  Magnanimity  of  Scipio)  and  in  the  collection  of 
Sir  Hubert  Parry  at  Highman  Court.  But  the  present  picture 
is  the  only  one  which  gives  an  illustration  of  the  contemporary 
life  in  Florence. 

Reproduced  in  the  Burlington  Magazine,  August,  1907. 

Schubring,  Cassoni,  No.  140. 


[ 85  ] 


FLORENTINE  PAINTER  ABOUT  1450 


This  painter  was  probably  at  the  bead  of  a workshop  which  was 
mainly  occupied  with  decorating  cassone  fronts.  He  was  perhaps 
more  of  a craftsman  than  of  an  artist;  we  do  not  know  any  other 
works  by  him  than  cassone  fronts  and  some  miniatures  in  a Virgil 
codex  (in  the  Biblioteca  Riccardiana,  Florence).  His  style  is,  how- 
ever, very  distinct  and  easily  recognizable;  it  was  evidently  formed 
under  the  influence  of  Uccello,  though  the  painter  had  very  little 
understanding  of  Uccello’s  innovations  in  regard  to  perspective  and 
rendering  of  cubic  form.  He  remains  a naive  story-teller,  whose 
pictures  have  little  reference  to  nature,  but  a good  deal  of  charm  as 
imaginative  interpretations  of  ancient  mythology  and  history. 


34.  INCIDENTS  FROM  THE  HISTORY  OF  iENEAS 
AND  DIDO 

As  related  in  the  iEneid  of  Virgil.  Furthest  to  the  left  Juno  is  talking 
to  AEolus,  asking  him  for  a storm  (ZEneid,  I.  50-80).  In  the  centre  the  ships 
of  ZEneas  are  wrecked  by  the  storm,  masts  and  rigging  are  carried  away  and 
the  men  are  washed  overboard  (AEneid,  I.  89-91).  Some  of  the  ships  have 
armorial  bearings  painted  on  their  sides,  possibly  indicating  the  families  for 
which  these  cassones  were  done.  The  winds  are  rushing  out  of  the  cave  of 
JEolus,  and  they  are  all  marked  by  names  like  Ponente,  Levante,  Nezzodi, 
Tramontana,  Maestale,  Libecio.  Further  to  the  right  Neptune  appears  on 
a richly  gilded  chariot  drawn  by  sea-horses;  two  of  the  winds,  Zefiro  and 
Euro,  are  before  him.  This  is  the  “Quos  ego”  of  Neptune  (AEneid,  I.  145- 
147).  JEneas  and  Achates  are  landing  in  Lybia,  where  they  meet  Venus 
dressed  as  a huntress  (AEneid,  I.  305-400).  Higher  up  we  see  Venus  dis- 
appearing from  mortal  sight  (iEneid,  I.  402  ff.).  The  water  is  dark  green, 
with  white  tops  on  the  waves,  the  rocks  are  gray,  the  ships  black  and  yellow 
with  white  sails ; the  figures  have  abundantly  gilded  costumes. 


[ 87  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Wood.  H.  1914  in-  W.  64)4  in. 

Old  Catalogue  No.  43.  “Paolo  Uccello.” 

This  cassone  front  is  the  counterpart  of  the  following  one. 


35.  FURTHER  INCIDENTS  FROM  THE  HISTORY  OF 
iENEAS  AND  DIDO 

On  the  left  AEneas  is  represented  hunting,  killing  a deer  for  his  fol- 
lowers (ifcneid,  I.  184-193).  In  the  centre  tineas  and  Dido  meet  in  the 
temple  of  Juno  in  Carthage  (JEneid,  I.  601).  The  temple  is  decorated  with 
representations  from  the  Trojan  War  (I.  483-485).  Further  to  the  right 
the  building  of  Carthage  is  going  on  (iEneid,  I.  423  If.).  AEneas  and  Julus 
are  landing  at  Latinus  in  Latinum.  Rome  is  here  represented  by  several  char- 
acteristic buildings,  such  as  the  Pantheon,  the  Capitol,  the  Aracoeli  church, 
the  Column  of  Trojan  and  the  Castel  Sant ’Angelo  (iEneid,  VII.  107  ff.). 
In  the  right  corner  is  represented  the  Augury  of  the  pigs. 

The  color-scheme  is  the  same  as  in  the  previous  picture;  the  richly 
gilded  and  ornamented  costumes  stand  out  with  striking  effect  against  the 
dark  green  landscape  and  gray  buildings. 

Wood.  H.  1914  in.  W.  633,4  in. 

Old  Catalogue  No.  44.  “Paolo  Uccello.” 


One  of  these  cassone  fronts  was  described  by  W.  Rankin, 
in  the  Burlington  Magazine,  May,  1907,  but  the  most 
complete  and  detailed  interpretation  of  the  motives  was 
given  by  Professor  Ch.  Hiilsen  in  a “Paper  read  before  the 
British  and  American  Archeological  Society  of  Rome,”  Febru- 
ary 21,  1911,  and  printed  in  the  publication  of  the  society.  He 
gives  the  quotations  from  Virgil  to  every  single  scene  in  these 
pictures,  and  points  out  their  references  to  the  miniatures  in 
the  Virgil  codex  of  the  Riccardiana  Library.  The  miniatures 
and  the  cassone  fronts  are  evidently  painted  by  the  same  artist. 
Some  other  incidents  from  the  HSneid  of  Virgil  are  represented 
on  two  cassone  fronts  in  the  Kestner  Museum  in  Hanover; 


[ 88  ] 


Florentine  Painter  About  1450 


CATALOGUE  OF  THE  JARVEi  COLLECTION 

Wood,  H.  1914  in-  W.  64*4  in. 

Old  Catalogue  No.  43.  “Paolo  Uccello.” 

This  cassone  front  is  the  counterpart  of  f e following  one. 


2 


& 

■-P 

C 

<< 

O 


35.  FURTHER  INCIDENTS  J i'C  'J  THE  HISTORY  OF 
^NEAS  AND  DIDO 

On  the  left  iEneas  is  represented  huntii  g,  krdvig  ■ ; 

lowers  (jgkeid,  1.  184-193).  In  the  centre  Ttieas  and  ■ - • ■■ 

temple  of  Juno  in  Carthage  (iEneid,  I.  601).  The  temple  is  decorated  - t x 
representations  from  the  Trojan  War  (I.  48  1-485).  Further  to  the  right 
the  building  of  Carthage  is  going  on  (iEneid,  I.  423  ff.).  iEneas  and  Julus 
are  landing  at  Latinus  in  Latinum.  Rom|  is  h ire  represented  by  several  char- 
, ?'  on.  tl  Capitol,  the  Araeoeli  church, 

it 'Angelo  ( JEneid,  VII,  107  ff.). 


§ 
S 


oiumn  f . 1 ■ „ a 

Cv 

he  right  corner  is  represented  the  A vggttr 
The  color-scheme  is  the  same  as  j|s|  -he  previous  pictur 
| d and  ornamented  costumes  stand>«  with  st  Sect  against  the 

. W.  63%  in. 


> 

a 

a 

S 

H 

S 

a 

SQ 

O 

a 


W, 


e and  gray  building.  h 
X 5 

Pardo  Ucletf. 

3 s 
3 3 


t\  letai 


c 


fronts  described  by  W.  Rankin, 
| | ay,  1907,  but  the  most 
quotation  of 
by  Professor  Ob.  Hiilsen&n  a “Paper  read  before 
British  and  American  Archeological  Society  of  Rome/'  Eebru- 
ar,r  1 1911,  and  printed  in  the  publication  of  the  society.  He 
gives  ft v quotations  from  Virgil  to  every  single  scene  in  these 
pictures,  and  points  out  their  references  to  tne  miniatures  in 
the  Viral i codex  of  the  Riccardiana  Library.  The  miniatures 
and  th  c mme  fronts  are  evidently  painted  by  the  same  artist. 
Some  other  a [dents  from  the  iEneid  of  Virgil  are  represented 
on  two  cassmc  fronts  in  the  Kestner  Museum  in  Hanover; 


[ SS  ] 


FLORENTINE  PAINTER  ABOUT  1450 


they  form  together  with  the  Jarves  cassones  a special  group. 
The  same  master’s  style  is,  however,  recognizable  in  several 
other  cassones,  for  instance  two  in  the  Lanckoronski  Collection 
in  Vienna,  representing  scenes  from  the  history  of  Odysseus; 
and  one  in  the  Museo  Stibbert,  Florence,  with  motives  from 
the  same  story. 

Reproduced  in  the  Burlington  Magazine,  May,  1907. 

Schubring,  Cassoni,  Nos.  223-224. 


FLORENTINE  PAINTER  ABOUT  1450 


Sometimes  called  the  “Cassone  master.”  (Cf.  Venturi,  Storia 
dell’ arte  italiana,  VII,  I,  431.)  He  is  so  closely  related  in  style  to  the 
previous  one  that  we  must  assume  that  they  kept  a workshop  together 
and  possibly  cooperated  in  some  paintings.  Still,  the  two  men  should 
not  be  treated  as  one  artist,  as  some  critics  have  tried  to  do. 

36.  THE  VISIT  OF  THE  QUEEN  OF  SHEBA  TO  SOLO- 
MON 

The  richly  attired  queen  of  the  East  approaches  the  wise  old  king  in 
front  of  Solomon’s  temple  in  Jerusalem.  The  king  takes  her  right  hand  in 
both  of  his.  She  is  followed  by  a retinue  of  courtiers  and  ladies,  all  in  very 
rich  costumes  and  fantastic  headdresses.  A dwarf  is  prominent  in  the  fore- 
ground. Further  to  the  left  her  followers  are  still  on  horseback,  and  higher 
up  in  the  picture  we  see  them  riding  out  from  a fortified  city.  King  Solomon 
is  also  attended  by  a large  number  of  courtiers  and  state  officials;  closest 
behind  him  is  an  old  man  with  a book.  The  dresses  and  headdresses  are  fan- 
tastically rich  and  ornamental.  The  temple  of  Solomon  is  built  like  a 
Renaissance  basilica  with  a nave  and  two  aisles;  on  the  lower  wings  stretch- 
ing out  from  the  central  building  stand  small  putti  carrying  heavy  gold 
garlands.  The  color-scheme  is  deep  and  rich,  with  much  ornamental  gold  in 
the  dresses  of  the  figures. 

Wood.  Cleaned  in  1915.  H.  18  in.  W.  59^  in. 

Old  Catalogue  No.  69.  ‘ ‘ In  the  manner  of  Piero  della  Francesca.  ’ ’ 

This  is  one  of  several  cassones  representing  the  Visit  of 
the  Queen  of  Sheba  to  Solomon,  all  of  which  originated  in  the 
same  workshop.  The  best-known  among  them  are  the  so-called 
“Dini-cassones”  in  the  Victoria  and  Albert  Museum,  London; 
two  cassones  in  the  collection  of  the  Earl  of  Crawford,  London ; 


[ 91  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


and  the  one  in  the  Boston  Museum  of  Fine  Arts.  The  com- 
positions of  all  these  pictures  are  similar  in  their  main  parts  but 
varied  in  details.  The  subject  seems  to  have  been  a specialty  of 
this  workshop,  and  was  regarded  as  particularly  well  fitted  for 
the  decoration  of  bridal  chests.  It  offered  splendid  opportunity 
for  a display  of  gorgeous  costmnes  and  rich  gold  ornamenta- 
tion. The  decorative  effect  of  these  pictures  is  hardly  sur- 
passed by  any  other  cassones  of  the  time. 

The  figure-style  of  the  master  is  marked  by  certain  pecu- 
liarities, for  instance,  the  very  large  hands  usually  kept  in 
a stiff  position  with  the  thumb  at  right  angles  to  the  other 
fingers.  The  heads  are  also  very  large  in  proportion  to  the 
bodies,  and  they  appear  still  more  so  because  of  the  enormous 
caps  and  hats.  The  types  of  the  old  men,  with  their  long  beards 
and  straight  noses,  reveal  their  derivation  from  those  of  Uccello 
and  Masaccio.  But  the  painter  transforms  these  monumental 
models  into  small  toylike  figures. 

Several  other  works  from  the  same  bottega  could  be  men- 
tioned, as,  for  instance,  two  cassones  in  the  Museo  Civico  in 
Venice,  and  a particularly  large  and  fine  one  in  the  Victoria 
and  Albert  Museum  in  London,  representing  the  Triumphs  of 
Love,  Chastity  and  Death. 

Reproduced  in  Burlington  Magazine,  May,  1907. 

Schubring,  Cassoni,  No.  195. 


[ 92  ] 


Florentine  Painter  About  145 


CATALOGUE  OF  THE  JARVES  COLLECTION 

and  the  one  in  the  Boston  Museum  of  Fine  Arts.  The  com- 
positions of  all  these  pictures  are  similar  in  their  main  parts  but 
varied  in  details.  The  subject  seems  to  have  been  a specialty  of 
this  workshop,  and  was  regarded  as  particularly  well  fitted  for 
the  decoration  of  bridal  chests.  It  offered  splendid  opportunity 
for  a display  of  gorgeous  costumes  and  rich  gold  ornamenta- 
tion. The  decorative  effect  of  these  pictures  ie  hardL  ■*nr- 
passed  by  any  other  cassones  of  the  time. 

The  figure-style  of  the  master  is  marked  by  certain  p ". 
liarities,  for  instance,  the  very  large  hands  usually  kept  in 
a stiff  position  with  the  thumb  at  right  angles  to  the  other 
Jngers.  The  heads  are  also  very  large  in  proportion  to  the 
iJbd^gs,  and  they  appear  still  more  so  because  of  the  enormous 
laps  and  hats.  The  types  of  the  oilmen,  with  their  long  beards 
Jpcl straight  noses,  reveal  their  derivation  from  those 
arwUMasaccio.  But  the  painter  transforms  these  monumental 
| lets  into  small  toylike  figures.  | S 

^Several  other  works  from  the  Isafiie  bottega  could  be  men- 

O'  O f 


: k resenting  the  Triumphs  of 


as,  for 


,nce,  t' 


I in  the  Museo  Civico  in 


H 


Bet  in  Burlington  Magazine,  May,  1907 

Schabnng,  Cassoni,  No.  195. 


[ 92  ] 


MASTER  OF  THE  CARRAND  TRIPTYCH 


A Florentine  painter  of  the  middle  of  the  XV  century,  whose 
real  name  as  yet  remains  unknown.  The  temporary  descriptive 
name  under  which  he  is  known  has  been  derived  from  his  most  im- 
portant work — an  altar  triptych  in  the  Carrand  Collection  in  the 
Museo  Nazionale  in  Florence.  He  was  once  tentatively  identified 
with  Francesco  Pesello,  the  father  of  Pesellino,  but  this  identification 
is  now  generally  rejected  as  not  convincing.  He  seems  to  have  been 
a contemporary  of  Domenico  Veneziano  and,  like  this  master, 
was  strongly  affected  by  the  new  naturalistic  trend  in  Florentine  art 
about  the  middle  of  the  century.  He  might  have  been  a pupil  of 
Uccello  or  Castagno  and  was  possibly  later  on  influenced  by  Baldo- 
vinetti.  His  most  important  works,  besides  the  triptych  in  the 
Carrand  Collection,  are  predella  pictures  in  the  Casa  Buonarotti  in 
Florence  and  in  the  museum  at  Montpellier,  a crucifix  in  San 
Donnino,  near  Florence,  and  Madonnas  in  the  possession  of  Dr. 
Weisbach,  Berlin,  and  of  Mr.  John  Gf.  Johnson,  Philadelphia. 

The  painter  was  first  discussed  by  Dr.  Weisbach  in  Jahrbuch 
der  Konigl.  Preuss.  Kunstsamlungen,  1901. 

37.  SCENES  FROM  THE  LIFE  OF  A HOLY  HERMIT 

Furthest  to  the  left  we  see  the  hermit,  an  old  man  with  a long  white 
heard,  sitting  on  a bench  outside  his  cell.  He  is  receiving  a message  from  an 
angel,  who  comes  floating  down  through  the  air.  In  the  next  scene  he  is 
stepping  out  from  the  hut,  with  a monk’s  frock  on  his  arm,  to  meet  a naked 
youth  who,  having  put  off  his  worldly  clothes,  is  about  to  don  the  monastic 
robe.  The  hermit  has  no  individual  sign  or  characteristic;  he  might  be 
Saint  Paphuntius,  who  according  to  the  legend  received  several  heavenly 
messages.  In  the  lower  part  of  the  picture  we  see  the  same  hermit  (or 
another  closely  resembling  him)  exorcising  a devil.  The  young  man  who  is 


[ 93  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


possessed  is  held  in  a kneeling  posture  by  two  companions,  while  four  others 
stand  around  as  spectators,  evidently  much  amazed  by  the  miracle.  The 
landscape  is  formed  by  gray  rocks,  on  which  some  trees  and  shrubs  are  scat- 
tered. There  are  some  red,  green  and  yellow  tints  in  the  costumes  of  the 
men,  but  the  general  tone  of  the  painting  is  a grayish  brown.  The  picture 
has  evidently  been  sawn  out  of  a larger  panel  which  contained  several  scenes 
from  the  life  of  the  same  hermit. 

Wood.  Cleaned  and  restored  1915.  H.  13%  in.  W.  17%  in. 

Old  Catalogue  No.  54.  “Unknown  painter.  Sienese  picture  of  the 
fifteenth  century.” 

Our  attribution  in  this  case  may  be  liable  to  excite  the 
opposition  of  students  who  are  not  entirely  familiar  with  the 
master  in  question.  But  is  it  not,  after  all,  by  such  attributions 
that  the  study  of  history  of  art  is  best  furthered  ? 

The  master  is  a second-rate  man  in  early  quattrocento  art, 
but  his  conceptions  are  remarkably  original  and  his  style  is 
distinguished  by  certain  peculiarities  of  design  which  make  his 
works  interesting  subjects  for  formal  analysis. 

If,  to  begin  with,  we  ask  about  the  general  derivation  of 
his  art,  as  revealed  in  this  little  panel,  there  can  hardly  be  more 
than  one  answer:  Paolo  Uccello.  The  connection  with  this 
great  master  of  awakening  naturalism  is  perfectly  evident,  both 
in  the  general  composition  and  in  the  drawing  of  the  single 
figures,  especially  the  nudes.  We  like  to  draw  particular  atten- 
tion to  the  close  stylistic  relation  between  the  nude  youths  in 
this  picture  and  similar  figures  in  certain  drawings  of  Uccello’s 
following,  belonging  to  the  National  Museum  in  Stockholm  and 
to  the  Uffizi  Gallery  in  Florence.  Any  one  familiar  with  the 
Stockholm  drawing  of  ten  nude  men  and  a bear  around  a water 
basin  will  recognize  its  close  stylistic  relation  to  this  picture. 

But  if  we  want  a more  definite  attribution  we  have  to  leave 
the  drawings  and  seek  relations  among  extant  paintings.  The 

[ 94  ] 


master  OF  the  Carrand  Triptych 
37.  Scenes  from  the  Life  of  a Holy  Hermit 


CATALOGUE  OF  THE  JAR  YES  COLLECTION 


,sessed  is  held  in  a kneeling  posture  by  two  companions,  while  four  others 
stand  around  as  spectators,  evidently  much  amazed  by  the  miracle.  The 
landscape  is  formed  by  gray  rocks,  on  which  some  trees  and  shrubs  are  scat- 
tered. There  are  some  red,  green  and  yellow  tints  in  the  costumes  of  the 
men,  but  the  general  tone  of  the  painting  is  a grayish  brown.  The  picture 
has  evident: ty  been  sawn  out  of  a larger  panel  which  contained  several  scenes 
from  the  life  of  the  same  hermit. 

‘Wood.  Cleaned  and  restored  1915.  H.  Ti  - in.  W.  17%  in. 

•;  d Catalogue  No.  54.  “Unknown  painter.  Sienese  picture  or  the 

fifteenth  century.” 


Our  attribution  in  this  case  may  be  liable  to  excite  the 
;sition  oi  students  wlio  are  not  entirely  familiar  with  the 


-ter  in  question.  B 
? the  study  of  Msto 

i s a s« 


lasiei 


a 

S 

> 

SO 

tc 

b 

H 

X 


X 

a 

H 

Cti 

> 

§ 


<?  it  not,  after  all,  by  such  attributions 

"fiiyfcliGrod  ? 

: ■:  ; v . :i  rocento  art, 
io  \ . tie  is 

of  lc  si gh  which  make  his 

.......  vlWn-w^>.  ^ .ir  ™ - 

sutvjects  for  formal  analysis. 

Wi.fh,  we  ask  about  the  general  derivation  of 
eale  d in  this  little  panel,  there  can  hardly  be  more 
, , .wer:  Paolo  Uccello.  The  connection  with  this 

, r of  awakening  naturalism  is  perfectly  evident,  both 
general  composition  and  m the  drawing  of  hie  single 
» » urc{5,  especially  the  nudes.  We  life*  to  draw  particular  atten- 
tion to  the  close  stylistic  matin  between  the  nude  youths  in 
this  picture  and  similar  u cea i u ft  di awings  of  Wco 

following,  belonging  to  the  .Nation  Museum  in  Stockholm  and 
to  the  Uffizi  Gallery  in  Florence.  Any  one  familiar  with  the 
Stockholm  drawing  of  ten  nude  men  and  a bear  aroimd  k water 
basin  will  recognize  its  close  stylistic  relation  to  this  picture. 

But  if  we  want  a more  definite  attribution  we  have  to  leave 
the  drawings  and  seek  relations  among  extant  paintings . The 


MASTER  OF  THE  CARRAND  TRIPTYCH 


Carrand  triptych  in  the  Museo  Nazionale  in  Florence,  already 
mentioned,  is  a somewhat  bulky  piece  which  at  first  sight  does 
not  seem  to  correspond  very  well  in  style  with  the  present  little 
fragment  of  a picture.  It  is  only  after  proceeding  to  a closer 
study  of  certain  details  in  this  triptych  that  one  begins  to  find 
its  similarities  to  our  picture.  Take,  for  instance,  the  Corona- 
tion of  the  Virgin,  represented  at  the  top  of  the  central  panel 
in  the  triptych.  The  draping  of  the  mantles  is  here  particularly 
characteristic;  the  folds  are  puffy  and  separated  by  sharply 
outlined  curves,  the  stuff  is  heavy  and  stiff,  almost  as  if  soaked 
in  plaster.  Exactly  the  same  treatment  can  be  seen  in  the 
mantles  of  the  figures  which  form  the  lower  group  in  the  Jarves 
panel.  The  poorly  drawn,  large,  almost  rectangular  hands  are 
also  very  prominent  in  both  pictures,  especially  when  they  are 
kept  in  a straight  vertical  position.  Proceeding  to  the  types, 
we  draw  attention  to  the  similarity  between  the  face  of  Christ 
and  that  of  the  hermit  in  the  little  panel:  the  eyes  are  round 
and  staring,  the  mouth  is  very  small  and  the  ears  are  excessively 
large;  and  most  characteristic  is  the  way  in  which  all  these 
features  are  outlined  with  sharp  black  contours.  It  is  not  only 
a general  likeness  of  features  and  design,  but  a striking  corre- 
spondence in  technical  methods  and  execution.  There  is  hardly 
room  for  any  doubt  as  to  the  identity  of  the  master. 

The  connection  is,  however,  still  more  strengthened  by 
intermediary  links.  As  stated  above,  several  pictures  are  for 
good  reasons  given  to  the  “Carrand  master”;  the  best  known 
among  these  are  the  predellas  in  the  Casa  Buonarotti  and  in 
the  museum  at  Montpellier,  and  two  Madonnas  in  private  col- 
lections. The  predellas  are  evidently  somewhat  later,  freer 
and  more  mature  works.  The  Casa  Buonarotti  predella,  espe- 
cially, is  a gem  of  naturalistic  representation.  Still,  even  here, 
we  find  in  the  naked  youths  striking  resemblances  to  the  nudes 


[ 95  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


of  the  Jarves  picture.  Of  the  two  small  Madonnas  the  one  in 
the  possession  of  Dr.  Weisbach  in  Berlin  is  an  early  work  by 
the  ‘ ‘ Carrand  master.”  The  Virgin  and  the  two  saints  of  this 
picture  are  comparatively  stiff  and  primitive,  and  they  reveal 
the  somewhat  uncouth  mannerism  of  the  painter  in  an  element- 
ary form.  The  correspondences  between  the  monks  of  that 
picture  and  the  hermits  of  the  Jarves  panel  are  so  intimate  that 
the  figures  could  be  interchanged  without  causing  any  break  in 
the  style  or  appearance  of  the  two  paintings.  The  particular 
features  of  types  and  draping,  to  which  attention  has  already 
been  drawn,  are  most,  prominent,  and  form  throughout  the  safe 
basis  for  our  identification  of  the  master. 

The  Jarves  picture  must  have  been  a very  early  perform- 
ance by  this  interesting  man;  it  lacks  much  of  the  daintiness 
to  be  found  in  the  Casa  Buonarotti  predella,  which  once  caused 
its  attribution  to  Pesellino.  But  on  the  other  hand  it  is  filled 
with  that  almost  scientific  interest  for  exact  representation,  that 
strongly  naturalistic  bent  of  feeling  and  thought,  which  the 
painter  learned  from  Uccello  and  intermingled,  in  a charmingly 
naive  way,  with  reminiscences  of  old-fashioned  trecento  art. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (“Pittore  senese  ignoto.”) 


[ 96  ] 


FOLLOWER  OF  ANDREA  DEL  CASTAGNO 


An  unknown  painter  strongly  influenced  by  Castagno,  working 
about  1450-1475.  It  seems  likely  that  the  painter  was  of  provincial 
origin,  although  he  received  the  determining  artistic  influences  in 
Florence. 

38.  THE  DORMITION  OF  THE  VIRGIN 

She  lies  extended  on  a bier  which  is  covered  with  an  Oriental  carpet. 
Christ  and  the  apostles  are  standing  behind  and  on  the  sides  of  the  death-bed. 
Christ  is  holding  in  His  arms  the  soul  of  the  Virgin  in  the  form  of  a newborn 
baby.  Saint  Peter,  who  stands  at  the  side  of  Christ,  is  reading  the  death 
mass,  and  some  of  the  other  apostles  are  also  holding  open  hooks  as  if  they 
were  assisting  Saint  Peter.  The  room  is  indicated  by  slender  arcades  on 
both  sides  and  a stone  wall  in  the  background.  The  color-scheme  is  light; 
the  Virgin  is  robed  in  white ; Christ  has  a light  blue  mantle,  while  the  mantles 
of  the  apostles  are  orange,  red,  pink,  yellow  and  white.  The  paint  is  laid  on 
very  thin,  but  the  figures  are  outlined  with  black. 

Wood.  H.  1114  in-  "W-  2714  in. 

Old  Catalogue  No.  58.  “Unknown  painter.”  In  addition  to  the  descrip- 
tion of  this  picture  it  is  stated,  however,  that  “this  very  archaic  picture  has 
been  ascribed  to  Buffalmaco,  but  is  thoroughly  Umbrian  in  character.  ’ ’ 

This  statement  must  surprise  any  one  familiar  with  quat- 
trocento painting  in  Umbria  and  Tuscany,  as  the  picture  reveals 
such  a decided  Florentine  character,  being  closely  allied  to  the 
school  of  the  leading  realistic  master  of  Florence  about  1450- 
1460.  It  shows  an  exaggeration  of  Andrea  del  Castagno ’s 
sturdy  and  uncouth  apostles,  as  we  know  them  from  his  repre- 
sentation of  the  Last  Supper  in  San  Apollonia,  Florence.  The 
types  in  the  small  picture  are  evidently  modelled  on  those  in 


[ 97  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


the  large  fresco,  though  with  very  little  understanding  of  the 
emotional  expression  and  individualization  which  distinguish 
the  characters  of  the  Last  Supper.  The  rather  summary  treat- 
ment of  the  mantle  folds  may  also  be  derived  from  Andrea  del 
Castagno,  but  the  painter  imitates  only  the  most  external  traits 
of  the  master’s  works,  and  exaggerates  them.  He  is  a very 
unskilled  technician,  outlining  his  figures  very  heavily  and 
handling  the  brush  in  a coarse  way.  Since  the  picture  has  a 
large  crack,  has  been  trimmed  on  all  sides,  and  has  been  subject 
to  restorations  at  different  times,  it  appears  now  even  less 
attractive  than  it  probably  was  in  the  beginning. 


[ 98  ] 


3h.  The  Dormition  of  the  Virgin 


CATALOGUE  OF  THE  JABVES  COLLECTION 


the  large  fresco,  though  with  very  little  understanding  of  the 
emotional  expression  and  individualization  which  distinguish 
the  characters  of  the  Last  Supper.  The  rather  summary  treat- 
ment of  the  mantle  folds  may  also  be  derived  from  Andrea  del 
Castagno,  but  the  painter  imitates  only  the  raw  ■ te  ma-  traits 
of  the  master’s  works,  and  exaggerates  them, 
unskilled  technician,  outlining  his  figures  very  heavily  and 
handling  the  brush  in  a coarse  way.  Since  the  picture  has  a 
large  crack,  has  been  trimmed  on  all  sides,  and  has  been  subject 
to  restorations  at  different  times,  it  appears  now  even  less 
attractive  than  it  probably  was  in  the  beginning. 


NERI  DI  BICCI 


Born  in  Florence  1419;  son  and  pupil  of  tlie  painter  Bicci  di 
Lorenzo,  influenced  by  Domenico  Yeneziano  and  Fra  Angelico.  He 
has  left  a diary  of  his  daily  occupations  which  goes  to  show  that  he 
was  one  of  the  most  prolific  painters,  and  kept  a large  studio  in  which 
several  younger  painters  like  Francesco  Botticini,  Cosimo  Rosselli 
and  Giusto  d ’Andrea  assisted  him.  His  numerous  altarpieces  and 
other  pictures  prove  that  he  knew  well  the  mechanical  side  of  his 
occupation,  but  was  lacking  in  creative  imagination.  The  ornamental 
effect  of  Neri’s  pictures,  with  their  bright  colors  and  rich  gold,  is 
often  striking,  but  the  figures  are  mostly  badly  drawn  and  reveal  no 
emotional  qualities.  The  records  of  Neri  di  Bicci  fall  between  1453 
and  1475;  he  was  still  alive  in  May,  1491,  but  died  probably  during 
the  same  year. 


39.  SAINT  NICHOLAS  THROWING  BALLS  OF  GOLD 
TO  THE  DAUGHTERS  OF  THE  POOR  NOBLEMAN 

According  to  the  legend  he  thus  saved  three  girls  from  infamy,  securing 
them  honorable  matrimony.  The  young  saint  is  represented  standing  on  his 
toes  in  order  to  reach  up  to  the  small  window  through  which  he  is  throwing 
the  golden  balls.  In  the  room  we  see  the  three  poor  girls,  two  sitting  asleep, 
the  third  rising  in  astonishment  when  she  sees  the  gold  on  the  floor.  The 
father  of  the  girls  is  entering  through  the  door  to  the  right  clasping  his  hands 
in  amazement  and  thankfulness  over  the  miracle.  He  wears  a long  blue  robe ; 
the  girls  have  red,  green  and  blue  dresses,  the  saint  a short  red  tunic  and 
blue  stockings;  the  architecture  is  gray. 

Wood.  H.  12 y2  in.  W.  12  in. 

Old  Catalogue  No.  62.  “Neri  di  Bicci.” 


[ 99  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


This  little  painting  is  one  of  Neri  di  Bicci’s  most  refined 
and  attractive  creations.  The  master,  who  generally  is  depre- 
ciated because  of  certain  mannerisms  in  drawing  and  lack  of 
imaginative  expressiveness,  has  here  given  a remarkable  touch 
of  intimacy  and  refinement  to  his  presentation  of  the  legendary 
subject.  The  figures  are  dainty  and  move  with  ease  on  the 
scene  composed  by  the  simple  room,  though  their  types  are 
somewhat  clumsy,  with  the  usual  thick  potato  nose  of  Neri’s 
people.  They  may  be  compared,  for  instance,  with  the  figures 
in  the  altarpiece  in  Santa  Felicita  in  Florence,  representing  the 
saint  with  her  sons. 

The  fine  preservation  of  this  little  picture,  which  may 
have  formed  part  of  a predella,  adds  also  to  its  attractive  char- 
acter. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (“An  insignifi- 
cant panel  . . . which  shows  an  early  bit  of  nature  study.”) 


[ 100  ] 


Neri  di  Bicci 

39.  Saint  Nicholas  Throwing  Balls  of  Gold  to  the  Daughters 
of  the  Poor  Nobleman 


CATALOGUE  OF  THE  JABYES  COLLECTION 

TMs  little  painting  is  one  of  Neri  di  Bicci’s  most  refined 
and  attractive  creations.  The  mas;  *r.  who  generally  is  depre- 
ciated because  of  certain  c.  m drawing  and  lack  of 

imaginative  expressivenc  r • ■ -ever  a remarkable  touch 
of  intimacy  and  refin.cn  v : j ;■  est  vtation  of  the  legendary 
subject.  The  figures  an:-  dainty  and  move  with  ease  on  the 
scene  composed  by  the  simple  room,  though  fbe.-r  !yp«s'  are 
somewhat  clumsy,  with  the  usual  thick  pobn>  Neri’s 

people.  They  may  be  compared,  for  instance,  wren  < -r  fig-ares 
in.  the  altarpiece  in  Santa  Felicita  in  Florence,  representing  the 
saint  with  her  sons. 

The  fine  preserva.tr  v.  f this  little  picture,  which  may 

have  formed  part  of  a predella,  adds  also  to  its  attractive  char- 
acter. 


/ 


iooiS  ia 

aisidgufiCI  9di  oj  faloO  to  allfiH  gniwcndT  aidodoild  Jnif;3  .QH 
neaisldo M tooS  9dJ  1o 


[ 100  ] 


GIUSTO  D ’ANDREA 


This  painter  was  the  son  of  Andrea  di  Giusto  di  Manzini,  the 
assistant  of  Bicci  di  Lorenzo  and  Masaccio  (cf.  No.  31  of  this  cata- 
logue). Griusto  was  born  in  1440,  and  according  to  the  records  he  has 
left  about  his  own  life,  he  became  at  the  age  of  seventeen  an  appren- 
tice in  Neri  di  Bicci ’s  workshop.  Judging  from  Neri’s  “Libro  dei 
Ricordi,”  Giusto  worked  here  chiefly  between  1458  and  1460,  but  at 
the  end  of  July,  1460,  he  “struck”  in  order  to  work  with  Filippo 
Lippi.  This  “strike”  does  not  seem  however  to  have  lasted  long, 
because  the  same  year  he  concluded  a new  business  agreement  with 
Neri.  In  1460  Giusto  also  was  enrolled  in  the  Compagnia  dei  Pittori 
in  Florence.  It  is  very  likely  that  he  more  than  once  assisted  Fra 
Filippo  about  this  time.  Somewhat  later,  in  1465,  he  went  with 
Benozzo  Gozzoli  to  San  Gimignano  to  assist  in  painting  the  frescoes 
in  San  Agostino.  He  worked  here  until  1468.  The  remaining  years 
of  his  life  were  probably  mostly  spent  in  Florence,  in  executing  altar- 
panels  for  minor  churches  in  that  city  and  its  neighborhood.  Giusto 
died  in  1498.  His  records  about  his  own  life  have  been  published  in 
Gaye’s  “Carteggio”  and  the  most  important  dates  are  found  in 
Milanesi’s  notes  to  Vasari’s  life  of  Bicci  di  Lorenzo. 

The  historical  interest  of  Giusto ’s  works  lies  partly  in  the  fact 
that  they  form  a connecting  link  between  the  old  Bicci  bottega  and 
the  more  modern  men  like  Fra  Filippo  and  Benozzo  Gozzoli. 


40.  THE  ANNUNCIATION 

The  Virgin,  who  is  represented  as  a young  girl,  is  seated  in  a chair 
covered  with  a golden  drapery  in  front  of  a Renaissance  loggia.  She  holds 
a book  on  her  knee  and  leans  forward,  listening  with  raised  hands  to  the 
heavenly  messenger  who  approaches  from  the  left.  Above  the  angel,  in  the 


[ 101  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


upper  corner  of  the  picture,  appears  God  the  Father  sending  out  golden 
rays  and  the  white  dove  towards  Mary.  In  the  background  of  the  loggia, 
which  is  seen  in  perspective,  opens  a door,  through  which  we  can  look  into 
the  Virgin’s  bedroom.  At  the  side  of  the  loggia  extends  a garden  with  herbs 
and  trees.  The  colors  of  the  picture  are  bright  and  luminous.  Mary  has  a 
red  dress  and  a greenish  blue  mantle,  her  chair  is  draped  with  gold  brocade. 
The  angel’s  tunic  is  violet,  his  large  wings  iridescent  with  yellow,  deep  blue 
and  red.  Large  ornamented  halos  surround  the  heads.  The  architecture  is 
light  green  and  yellow.  The  sky  behind  the  angel  is  covered  with  small 
cloudlets. 

Wood.  H.  31%  in.  W.  32  in. 

Old  Catalogue  No.  63.  “Benozzo  Gozzoli.  ” 

Tlie  composition  of  this  picture  reminds  us  somewhat  of 
certain  representations  of  the  same  subject  by  Fra  Angelico 
and  his  pupils,  for  instance  in  San  Domenico,  Cortona,  and  in 
San  Martino  a Mensola.  It  represents  the  standard  formula 
for  this  subject  in  Florentine  painting  about  1460.  The 
arrangement  of  the  scene,  with  the  foreshortened  loggia  and  the 
garden  in  the  background,  bear  ample  witness  to  the  striving 
for  spatial  values,  a tendency  of  great  importance  in  the  new 
Florentine  art  about  the  middle  of  the  XV  century.  The  figures 
are,  however,  more  primitive  than  we  should  expect  in  a pic- 
ture of  this  kind,  and  rather  uneven  in  quality,  the  Virgin  being 
a more  successful  and  harmonious  creation  than  the  angel  and 
God  the  Father.  She  has  the  round  and  pretty  face  character- 
istic of  so  many  of  Fra  Filippo’s  or  Benozzo  Gozzoli ’s  childish 
Virgins.  Were  she  alone,  one  could  almost  be  inclined  to  accept 
the  traditional  attribution  of  the  picture  to  Benozzo.  The  angel 
Gabriel,  however,  makes  this  attribution  impossible ; he  reveals 
an  inferior  painter;  the  hands  are  particularly  clumsy,  the 
whole  form  somewhat  slack.  The  same  is  true  in  a still  more 
marked  degree  of  God  the  Father,  who  is  a strikingly  ugly  and 

[ 102  ] 


Giusto  d’Andrea 
4.0.  The  Annunciation 


CATALOGUE  OE  THE  JAR  YES  COLLECTION 

upper  comer  of  the  picture,  appears  God  the  Father  sending  out  gold-  i 
rays  and  the  white  dove  towards  Mary.  In  the  background  of  the  loggia 
which  is  seen  in  perspective,  opens  a.  door,  through  which  we  can  look  into 
the  Virgin ’s  bedroom.  At  the  side  of  the  loggia  extends  a.  garden  with  herbs 
and  trees.  The  colors  of  the  picture  arc  bright-  and  luminous.  Mary  has  a 
red  dress  and  a greenish  blue  mantle,  her  chair  is  draped  with  gold  brocade. 
The  angel’s  tunic  is  violet,  bis. large  wings  iridescent  with,  yellov;  V.  ■>  blue 
and  red.  Large  ornamented  halos  surround  the  J , . , , , ; r-  js 

light  green  and  yellow.  The  sky  behind  the  angel  is  covered  with  small 
cloudlets. 

Wood.  H.  31%  in.  W.  32  in. 

Old  Catalogue  No.  63.  “Benozzo  Gozzoli.  ” 

/ 

Tlie  composition  of  this  picture  reminds  us  somewhat  of 
certain  representations  of  the  same  • subject  by  Fra  Angelico 
and  his  pupils,  for  instance  in  San  Domenico,  Cortona,  and  in 
San  Martino  a Mensola.  It  represents  v m •? 
for  this  subject  in  Florentine  mb 

g ■ i • ; i gfM  and  the 

■ in  : m,  ■ m b . be  s i * 

%\  importance  in  the  new 
Florentine  art  ? fie  of  the  XY  century.  The  figures 

are,  howeve  r imitive  than  we  should  expect  in  a pic- 

ture of  this  k \ and  rather  uneven -in  quality,  the  Virgin  being 
a more  su-  cssful  and  haraionious  creation  than  the  angel  and 
God  th  ather.  She  has  the  round  and  prett’  laraeter- 

istic  of  so  many  of  Fra  Filippo's  or  Benozzo  Gozzol;  V childish 
is.  Were  she  alone,  <. 

the  traditional  attribution  of  the  pic':  ure  to  Bemozzo.  The  angel 

however,  makes  impossible ; he  reveals 

painter ; thcpdbaaadssk  arfi  particularly  clumsy,  the 
whole  for : i somewhat  slack.  The  same  is  true  in  a still  more 
marked  degree  of  God  the  Father,  who  is  a strikingly  ugly  and 

[ 102  ] 


GIUSTO  D ’ANDREA 


uncouth  figure.  His  face  has  the  prominent  potato  nose  and 
the  broad  mouth  which  characterize  Neri  di  Bicci’s  old  men. 
The  flabby  hands  with  the  limp  fingers  emphasize  the  same 
impression. 

These  general  observations  lead  us  to  suppose  that  the 
master  of  this  picture  must  have  been  some  younger  Florentine 
painter  who  followed  in  the  wake  of  Fra  Filippo  and  Benozzo, 
and  who  also  must  have  been  in  close  contact  with  Neri  di  Bicci. 
Any  one  familiar  with  the  art  of  this  epoch  will  also  admit 
that  the  present  picture  is  not  the  work  of  an  old  experienced 
man,  but  of  some  youthful  painter  who  has  not  yet  quite  found 
his  own  mode  of  drawing  and  composition.  In  fact,  the  charm 
of  the  work  lies  to  a great  extent  in  the  almost  childish  naivete 
of  the  main  figures  and  in  the  youthful  aspiration  to  have  them 
stand  out  against  an  architectural  background  of  purest 
Brunelleschi  type. 

There  were,  indeed,  several  young  masters  about  the  middle 
of  the  quattrocento  who  could  be  thought  of  as  answering  the 
general  characterization  given  above.  Men  like  Cosimo  Ros- 
selli,  Botticini  and  Pesellino  might  be  mentioned,  not  to  speak 
of  the  less  known  followers  of  Fra  Filippo  and  Neri  di  Bicci. 
Still,  it  is  unnecessary  to  dwell  upon  all  these  names  when  we 
know  that  there  is  only  one  which  really  fits:  Giusto  d ’Andrea. 

Giusto  can  be  studied  in  quite  a number  of  altarpieces  in 
smaller  collections  and  churches  in  and  around  Florence,  but 
as  most  of  these  are  unsigned  they  have  usually  passed  simply 
as  school  pieces  by  followers  of  Fra  Filippo.  The  identity  of 
the  master  has,  however,  long  since  been  established,  and  there 
are  pictures  rightly  ascribed  to  him  both  in  the  Academy  and 
in  the  Museo  di  San  Marco  in  Florence.  In  this  connection 
we  wish  to  call  special  attention  to  his  altar-panel  in  the 
Oratorio  della  Madonna  at  San  Giovanni  Yal  d’Arno,  repre- 


[ 103  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


senting  the  Virgin  surrounded  by  six  saints  (photo  Alinari, 
8908). 

The  two  kneeling  saints  in  this  picture,  Santa  Margherita 
and  Santa  Maria  Magdalena,  offer  very  close  resemblances  to 
both  the  angel  and  the  Virgin  of  the  Annunciation.  Particu- 
larly noticeable  are  the  slack  draping  of  the  wide  mantles,  the 
long  hands  with  badly  drawn  fingers,  and  the  very  prominent 
large  ears  which  are  seen  in  several  of  the  saints  in  the  same 
picture.  The  type  of  Santa  Margherita  is  practically  the  same 
as  that  of  the  angel  Gabriel  (marked  by  a long  oblique  nose), 
and  the  enthroned  Virgin  is  very  much  like  the  Annunziata  of 
the  Jarves  panel.  Even  the  ornaments  bordering  the  mantles 
and  the  tunics  are  the  same  in  both  cases. 

At  the  same  time  the  Val  d’Arno  picture  is  more  Lippesque 
than  the  Annunciation;  the  influence  from  Neri  di  Bicci  is  not 
here  so  evident.  It  is  evidently  a later,  maturer  work.  In  fact, 
there  is,  as  far  as  we  know,  no  picture  by  Andrea  where  his 
education  in  Neri’s  workshop  is  so  clearly  discernible  as  in  this 
Jarves  painting.  That  gives  us  reason  to  date  it  very  early,  at 
a time  when  the  painter  was  still  working  in  Neri’s  bottega. 
He  lias  borrowed  God  the  Father,  almost  without  a change, 
from  Neri’s  Annunciation  in  the  Academy  in  Florence  (dated 
1464)  ; he  has  freely  imitated  the  angel  of  the  same  picture ; 
and  he  has  followed  the  general  scheme  of  composition,  while 
introducing  enough  changes  to  make  it  as  a whole  much  prettier 
and  more  attractive  than  any  of  Neri’s  Annunciations. 

We  know  from  Neri’s  “Libro  dei  Ricordi,”  and  from  still 
existing  pictures,  that  the  master  delivered  not  less  than  twelve 
Annunciations  between  1455  and  1472 ; these,  like  other  stan- 
dard subjects  for  church  decoration,  were  manufactured 
according  to  set  formulas  for  composition.  The  young  people 
who,  during  that  time,  worked  in  Neri’s  studio  had  probably 


[ 104  ] 


GIUSTO  D ’ANDREA 


a large  share  in  the  execution  of  the  paintings;  and  it  is  thus 
only  natural  that,  when  they  attempted  to  do  the  same  motive 
on  their  own  account,  they  should  retain  many  of  the  essential 
features  as  set  down  in  the  teacher’s  compositions. 

We  are  thus  led  to  the  conclusion,  strengthened  by  stylistic 
and  historical  evidence,  that  the  present  picture  is  a work  by 
Giusto  d ’Andrea,  and  a very  early  one,  probably  executed  be- 
tween 1460  and  1470,  while  he  still  was  working  under  the  direct 
influence  of  Neri  di  Bicci.  It  is  only  fair  to  add  that  the  picture 
has  more  artistic  charm  and  expression  than  any  of  his  later 
works.  It  reveals  a poetical  sentiment  which  gradually  waned 
as  the  artist  became  a manufacturer  of  painted  church  decora- 
tions. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (No  opinion, 
though  picture  is  declared  “important.”) 


[ 105  ] 


ALESSO  BALDOVINETTI 


Baldovinetti  was  one  of  the  leading  masters  in  Florentine 
painting  during  the  second  half  of  the  XY  century.  Born  in  1425,  he 
got  his  main  training  in  the  studio  of  Domenico  Veneziano,  but  was 
also  influenced  by  Paolo  Uccello,  and  worked  probably  later  as  an 
assistant  of  Fra  Angelico.  In  1448  he  became  a member  of  the  Guild 
of  Saint  Luke.  His  early  works  are  still  somewhat  archaic  and  primi- 
tive in  feeling,  but  most  refined  in  drawing.  Later  on  he  becomes 
more  naturalistic.  The  extensive  views  of  his  landscape  backgrounds 
are  especially  remarkable.  The  largest  of  these  landscapes  is  seen 
in  the  fresco  representing  the  Nativity,  which  Baldovinetti  painted, 
1460-1462,  in  the  cloisters  of  SS.  Annunziata,  Florence.  In  1470  he 
executed  a large  panel  for  the  high  altar  of  the  church  of  Santa 
Trinita;  and  in  1496  he  painted  some  frescoes  in  the  choir  of  the 
same  church.  They  were,  however,  destroyed  in  1760.  Baldovinetti 
died  in  1499. 

His  chief  merits  lie  in  a great  refinement  of  craftsmanship  and 
in  the  care  with  which  he  depicts  natural  objects ; particularly  in  later 
years  the  skillful  technician  becomes  more  prominent  than  the  imagi- 
native artist. 

41.  SCENE  FROM  THE  INFANCY  OF  A SAINT 

In  an  open  courtyard,  closed  in  on  one  side  by  a mediaeval  palace,  a 
naked  baby,  with  a halo  around  his  head,  is  sitting  on  an  Oriental  rug 
extended  at  the  feet  of  a lady.  She  is  evidently  his  mother,  and  she  talks 
about  him  to  another  lady  who  is  standing  at  her  side.  In  the  background, 
the  baby  is  bathed  in  a large  tub  or  marble  basin  by  two  women.  On  the 
staircase  which  leads  up  to  the  palace,  on  the  left  side,  a monk  is  standing 
talking  to  a woman  on  the  threshold  of  the  house,  while  another  friar  in 
Franciscan  frock  waits  at  the  foot  of  the  staircase.  A girl  is  curiously  peep- 
ing out  through  the  window  of  the  palace. 


[ 107  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


The  general  color-scheme  of  the  picture  is  a soft  harmony  of  pink,  gray 
and  green,  the  palace  walls  are  light  red,  the  women’s  dresses  olive  green, 
and  the  monks’  frocks  gray.  The  Persian  rug  shows  a bird-  and  dragon- 
pattern,  in  red,  black  and  white.  The  color-effect,  originally  most  refined,  has 
suffered  from  scratching  and  cleaning,  but  it  preserves,  nevertheless,  a genuine 
charm. 

Wood.  Cradled  and  restored  1915.  H.  17*4  in.  W.  13  in. 

Old  Catalogue  No.  42.  “Masaccio.”  The  subject  of  the  picture  is 
described  by  the  catalogue  in  the  following  words : 

“Infancy  of  Saint  John  the  Baptist.  The  incidents  at  the  time  of  the 
circumcision  are  meant  to  be  represented — Zacharias  and  a woman  convers- 
ing in  dumb  show ; Elisabeth  talking  to  another  woman,  and  pointing  to  the 
child,  as  if  discussing  the  question  of  the  name,  etc.  (See  Saint  Luke  I.) 
In  the  background  is  a cistern  of  water,  and  the  child,  Saint  John,  standing 
in  it,  supported  by  women — an  incident,  perhaps,  symbolic  of  the  life  of  the 
man  who  was  sent  to  baptize  with  water.” 

We  know  no  Italian  picture  of  that  time  representing  the 
infancy  of  Saint  J okn  the  Baptist  which  has  any  monographic 
likeness  whatsoever  with  this  charming  realistic  novelletta.  To 
represent  Zacharias  as  a Franciscan  monk  and  to  give  him 
another  friar  as  a companion  at  so  intimate  a family  scene  would 
have  been  too  much,  even  for  the  boldest  realist  among  the 
Florentines!  It  seems  more  probable  that  the  subject  is  taken 
from  the  infancy  of  some  later  Italian  saint,  who  in  some  way 
was  connected  with  the  followers  of  Saint  Francis. 

Everything  in  this  picture  is  just  as  it  may  happen  any 
day  in  some  old  Florentine  palace  yard,  when  the  warm  sun- 
shine makes  the  walls  glow,  and  the  children  play  in  scanty 
costume.  But  there  is  also  a sense  of  expectation,  a poetic 
feeling,  suggested  by  the  dainty  little  fellow  crawling  on  the 
Persian  carpet. 

In  order  to  see  that  this  picture  is  a work  of  Alesso  Baldo- 
vinetti,  one  should  pay  special  attention  to  his  three  well-known 


[ 108  ] 


Alesso  Baldovinetti 
Scene  from 


the  Infancy  of  a Saint 


CATALOGUE  OF  THE  JA^YES  COLLECTS  ' 

The  general  color-scheme  of  the  picture  is  a soft  harmony  of  pink,  gn 
and  green,  the  palace  walls  are  light  red,  the  women’s  dresses  olive  green, 
and  the  monks’  frocks  gray.  The  Persian  rug  shows  a bird-  and  dragon- 
pattern,  in  red,  black  and  white.  The  eolor-effe* 1 most  refined,  has 

suffered  from  scratching  and  clea a i n g,  but  t pres* v hel  se  a genuine 

charm. 

Wood.  Cradled  and  restored  1915.  H.  17  <4  in  W.  13  in 

Old  Catalogue  No.  42.  “Masaccio.”  The  svtbjc.r  < >!  • 
described  by  the  catalogue  in  the  following  words  ■ 

“Infancy  of  Saint  John  the  Baptist.  The  incidents  at  the  time  or 
circumcision  are  meant  to  be  represented — Zacharias  and  a woman  cor: 
ing  in  dumb  show;  Elisabeth  talking  to  another  woman,  and  pointing  to  the 
child,  as  if  discussing  the  question  of  the  name,  etc.  (See  Saint  Luke  I.) 
In  the  background  is  a cistern  of  water,  and  the  child,  Saint  John,  standing 
in  it,  supported  by  women — an  incident,  perhaps,  symbolic  of  the  life  of  the 
man  who  was  sent  to  baptize  with  water.  ’ ’ 

We  know  no  Italian  picture  of  that  time  represent;  ?-.>.•  ' T 
infancy  of  Saint  John  the  Baptist  which  h .my  , nm 

likeness  whatsoever  with  this  harming  realistic  novelletta.  To 
represent  Zacharias  as  a Franciscan  monk  and  to  give  him 
another  friar  as  a companion  at  so  intimate  a family  scene  would 
have  been  too  much,  even  for  the  boldest  realist  among  the 
Florentines!  It  seems  more  probable  that  the  subject  is  taken 
from  the  infancy  of  som  W ■ Italian  saint,  who  in  some  way 
was  connected  with  the  followers  of  Saint  Francis. 

Everything  in  this  pietu  s : r-f  as  it  may  happen  any 
•day  in  some  old  Florentine  palace  yard,  when  the  warm 
shine  makes  the  walls  gl<  and  the  children  play  in  scanty 
costume.  But  there  is  also  a sense  of  expectation,  a poetic 
feeling,  suggested  by  the  dainty  little  fellow  crawling  on  the 
Persian  carpet. 

In  order  to  see  that  this  picture  is  a work  of  Alesso  Baldo- 
vinetti,  one  should  pay  special  attention  to  his  three  well-known 


ijrTj^gfdfrjAa  0883jA 
} nifiS  b 1o  YDnjiinl  aril  raoU  9(1908  .14s 


ALESSO  BALDOVINETTI 


small  pictures  in  the  Academy  in  Florence,  representing  the 
Baptism  of  Christ,  the  Marriage  at  Cana  and  the  Transfigura- 
tion. The  second  one,  especially,  offers  very  close  stylistic  re- 
semblances to  this  picture.  We  observe  at  once  that  the  mise  en 
scene  is  very  much  the  same.  The  festival  is  going  on  in  an 
Italian  palace  of  the  same  type  as  the  one  which  is  depicted 
from  the  outside  in  the  Jarves  picture;  the  architectural  feel- 
ing is  the  same,  and  behind  the  figures  is  the  same  flowered 
tapestry  we  see  behind  the  sitting  woman;  nothing  could  be 
more  like  than  these  architectural  and  decorative  settings. 
The  very  dainty  figures,  tall  and  short-waisted,  also  prove  the 
identity  of  the  master.  In  these  very  early  works  we  already 
recognize  Baldovinetti ’s  well-rounded  and  full  type  of  face  with 
almost  swollen  cheeks,  a somewhat  aquiline  nose  and  small 
mouth.  Still  more  characteristic  are  the  very  prominent  hands, 
so  thin,  flat  and  without  structure  that  they  could  hardly  be  used 
for  prehensile  purposes,  but  which  appear  very  beautiful 
when  lifted  in  prayer — as  may  easily  be  observed,  both  in 
the  Jarves  panel  and  in  the  Florentine  examples.  The  pecu- 
liarly plastic  treatment  of  the  folds,  especially  in  the  red  mantle 
of  the  sitting  woman,  appears  quite  the  same  as,  for  instance,  in 
the  artist’s  big  Annunciation  in  the  Uffizi — another  compara- 
tively early  work  of  this  rare  master.  Thus  we  discern  in  this 
picture  more  of  the  influence  of  Andrea  del  Castagno,  the  great 
sculpturesque  painter  among  the  early  Florentines,  than  of 
Domenico  Veneziano,  the  most  accomplished  technician  and 
colorist.  It  is  to  be  regretted  that  the  Jarves  picture  has 
lost  much  of  those  soft  transparent  glazes  which  give  such  an 
unusual  pictorial  charm  to  Baldovinetti ’s  early  works.  Finally 
the  child,  the  most  important  personage  in  the  picture,  is  worthy 
of  special  attention  as  being  extremely  characteristic  of  the 
master.  His  soft  white  limbs,  most  carefully  modelled  (one 

[ 109  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


might  almost  say,  as  if  turned  in  wax)  and  his  big  head,  are  the 
same  as  in  Baldovinetti’s  earliest  Madonnas  in  the  Uffizi  and  in 
the  Musee  Andre  in  Paris.  But  in  these  somewhat  later  crea- 
tions Baldovinetti  has  already  lost  something  of  that  poetic 
sentiment  and  delicacy  of  drawing  which  lift  his  early  works  to 
the  highest  rank  in  Florentine  quattrocento  art. 

The  small  pictures  in  the  Academy  at  Florence  were 
painted  about  1447,  when  the  master  was  twenty  years  old; 
they  are  filled  with  all  the  charm  of  the  first  creations  of  a 
youthful  genius,  but  lack  the  strong  qualities  of  form  and  the 
space  values  which  distinguish  his  maturer  work.  The  Jarves 
picture  stands  evidently  closest  to  the  master’s  early  works,  and 
can  hardly  be  dated  much  later  than  1450. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (“Masaccio’s 
time  and  tendency.”) 

Reproduced  in  Der  Cicerone,  1912,  p.  133,  and  in  Art  in  America,  1914. 


[ no  ] 


ANTONIO  POLLAJUOLO 


Antonio,  the  older  of  the  two  Pollajuoli  brothers  who  both  were 
leading  men  in  the  realistic  art  of  the  quattrocento,  was  horn  in 
1429  and  died  in  1498.  Piero,  the  younger  brother,  was  born  in  1443 
and  died  in  1496.  The  father,  Jacopo  d ’Antonio,  was  a goldsmith, 
and  the  sons  were  educated  in  the  same  craft.  They  remained  with 
the  father  until  1459,  and  then  opened  a goldsmith  shop  of  their 
own  in  the  Via  Vaccherecchia  in  Florence.  Here  were  executed 
several  of  the  most  important  commissions  in  silver  and  gold  work 
issued  in  Florence  by  church  or  state.  But  besides  this  occupation 
the  Pollajuoli  devoted  themselves  to  the  acquisition  of  a thorough 
training  in  the  plastic  arts — especially  Antonio,  who  studied  anatomy 
by  dissection,  aiming  at  a scientific  reproduction  of  nature.  Happily, 
however,  his  feeling  for  movement  in  line  and  form  was  so  intense 
that  it  counterbalanced  the  merely  naturalistic  tendency.  His  form 
is  realistically  expressive  in  the  same  way  as  that  of  Donatello  and 
Andrea  del  Castagno,  who  were  his  teachers,  but,  at  the  same  time, 
more  mobile  and  vivid.  Antonio  was  above  all  a great  draughtsman ; 
his  drawings  and  engravings  are  artistically  just  as  important  as 
the  paintings,  of  which  there  are  hardly  more  than  eight  or  nine  in 
existence.  During  the  last  decade  of  his  life  Antonio  was  occupied 
in  Rome,  executing  there,  among  other  things,  two  large  sepulchral 
monuments  in  bronze.  Several  works,  both  paintings  and  sculptures, 
were  done  in  collaboration  by  the  two  brothers,  Antonio  making  the 
sketch  or  drawing,  and  Piero  doing  most  of  the  actual  execution  in 
color.  Such  a collaboration  of  the  two  brothers  is  evident  in  the 
present  picture,  though  Antonio’s  share  in  the  work  was  much  the 
larger,  so  that  an  attribution  to  him  seems  justifiable. 


[ HI  1 


CATALOGUE  OF  THE  JARVES  COLLECTION 


42.  THE  RAPE  OF  DEIANIRA 

The  centaur  Nessus  is  galloping  through  a stream  with  Deianira  on 
his  back.  He  is  holding  with  both  hands  the  frightened  woman,  whose  trans- 
parent white  garment  flutters  in  the  wind.  She  is  wrestling  to  get  free 
from  the  grip  of  the  centaur.  To  the  right  on  the  shore  of  the  river  stands 
Hercules,  stretching  his  bow  ready  to  send  an  arrow  into  the  centaur.  He  is 
a nude  athlete  with  intense  “tactile  values,”  the  whole  figure  having  the 
tension  of  a steel  spring  strained  to  the  limit.  The  very  extensive  landscape, 
which  is  dominated  by  the  winding  river,  represents  a view  of  the  Amo 
valley  closed  in  by  high  mountains.  The  city  in  the  middle  distance  is  evi- 
dently meant  to  represent  Florence,  and  some  of  the  characteristic  buildings, 
like  the  Duomo  and  the  Campanile,  are  perfectly  distinguishable.  The  land- 
scape has  a dark  brownish  tone,  in  which  the  river  appears  as  a light,  winding 
path.  The  sky  is  light  bluish  green. 

Transferred  from  wood  to  canvas.  H.  21%  in.  W.  31%  in. 

Old  Catalogue  No.  64.  “Antonio  Pollajuolo. ” The  catalogue  gives  the 
following  interesting  information  about  the  history  of  the  picture:  “When 
purchased  for  the  collection,  the  figure  of  Deianira  was  entirely  painted  out, 
the  landscape  and  the  body  of  the  centaur  being  continued  by  later  work, 
skillfully  done.  This  was  probably  done  during  the  time  of  Savonarola,  the 
Florentine  reformer,  who,  a few  years  before  Pollajuolo ’s  death,  excited  a 
religious  and  political  agitation  in  Florence,  attacked  with  especial  earnest- 
ness art  of  mythological  subjects  and  all  representations  of  the  nude  form, 
and  persuaded  many  painters  to  sacrifice  their  objectionable  pictures  and 
their  studies  of  the  naked  model.  The  alteration  in  this  picture  may  have 
been  made  by  the  hand  of  the  artist  himself.  This  addition  was  carefully 
removed  and  the  picture  recovered  in  an  almost  uninjured  condition.  It  was 
transferred  from  panel  to  canvas  in  1867  by  J.  Howorth  of  Boston,  very 
skillfully  and  with  complete  success.” 

The  opinions  as  to  the  skillfulness  displayed  in  the  cleaning 
and  transferring  of  the  picture  may  be  divided ; nobody  could, 
however,  deny  that  the  precious  painting  has  lost  some  of  its 
freshness  through  these  processes. 

When  the  picture  was  cleaned  again,  in  the  summer  of 


[ 112  ] 


Antonio  Pollajuolo 


fS-  XPG  K^b6  °t  DG!9U!UI 

yi/i-Lomo  ijorrvinoro 


CATALOGUE  OF  THE  JAKVES  COLLECTION 

42..  THE  RAPE  OP  DEIANIRA 

The  centaur  Nessus  is  galloping  through  a stream  with  *>eiamra ™ 
his  bach.  He  is  holding  with  both  hands  the 

parent  white  garment  flutters  in  the  wind.  Sh  ■ ’ ^ 

Iron,  the  grip  o£  the  centaur.  To  the  right  on  the  shore  of  th 
H enles  stretching  his  how  ready  to  send  an  arrow  into  t e con  « ■ 

7 ,1'  athlete  with  intense  “tactile  yalues,”  the  whole  figure  nn»i 

LAI  of  alel  spring  strained  to  the  limit.  The  very  e~l« 
which  is  dominated  by  the  winding  ^ ” m^diCe  f.  ~ 
valley  closed  in  by  ^—ms . buildings, 

,‘D.  0°and  the  Campanile,  are  perfectly  distinguishable.  The  land- 
. ; r.  “roliish  tone,  in  which  the  river  appears  as  a light,  windmg 

following  interesting  mformaU^oUt  ^0^  ^ painted  out, 

stju  * *.  ^ being  — * ^ r* 

" At  Al,;!»:  ;■  death,  excited  a 

fe“eand  politick  jAAATrAr^io^tTtaeAA 
ness  art  of  mythological  ^ their  objectionable  pictures  and 

and  persuaded  many  ' " altCTation  in  this  picture  may  have 

their  studies  of.  the  uahe  m ~ addition  was  carefully 

been  made  by  the  hand  of  the  “t  ^d  condition.  It  was 

removed  and  the  picture  reeoveie  Howorth  of  Boston,  very 

transferred  from  panel  to  canvas  in  1867  by  J.  Bo 

skillfully  and  with  complete  success. 

■n,,  »*.. « »”•£ 

iir  £ A-  ^ “ “ ” 01  “ 

«*•  “ - — - 


[ 112  ] 


r 

(Hi 

I •*- 1 

HP  MBBM 

k.- 

"BB 

m/lJm W8 

Et  ' 

ANTONIO  POLLAJUOLO 


1915,  the  restorer,  Mr.  Hammond  Smith  of  New  York,  made 
the  following  note  about  its  state  of  preservation:  “This  pic- 
ture has  suffered  from  considerable  loss  of  color  before  trans- 
ferring, which  necessitated  the  restoration  of  the  floating 
drapery  coming  down  from  the  shoulder  of  Deianira  and  the 
landscape  behind  it,  the  two  hands  of  Nessus,  most  of  the  tail, 
and  a large  space  in  the  centre  of  the  river  on  a line  with  Her- 
cules ’ knee.  The  back  of  Hercules  below  the  waist  was  damaged 
by  an  old  crack  in  the  original  panel.  The  water  back  of  the 
figure  was  worn  but  the  outlines  preserved.  The  entire  surface 
was  marred  by  the  loss  of  small  spots  necessitating  more  or  less 
stippling  of  the  darks  in  the  landscape.  A part  of  the  left 
forearm  of  Deianira  is  restored  and  the  hand  retouched  as  it, 
though  visible,  was  obscured  by  some  insoluble  coat  of  what 
seemed  a kind  of  filler  which  could  not  be  removed.”  This  arm 
of  Deianira  had,  on  a previous  occasion,  been  freely  repainted 
in  a false  position ; it  is  now  restored  to  its  original  form. 

It  is  interesting  to  note  that  the  motive  of  the  picture  is 
taken  from  the  story  of  Hercules,  because  that  same  story  in- 
spired Antonio  Pollajuolo  to  several  creations  both  in  painting 
and  sculpture.  Thus  he  adorned  the  large  salon  of  Lorenzo  de 
Medici  with  three  much  admired  representations  of  the  labors 
of  Hercules  (now  lost)  and,  painted  on  a smaller  scale,  Hercules 
wrestling  with  the  Hydra  and  with  Antaeus,  two  pictures  which 
are  now  in  the  Uffizi.  In  other  collections  are  small  bronze  statu- 
ettes by  Antonio  representing  Hercules  in  different  positions. 
Antonio ’s  predilection  for  these  motives  is  explained  by  the  fact 
that  they  offered  the  best  opportunity  for  representing  a muscu- 
lar human  body  in  violent  action.  “The  life  of  the  frames,  their 
exuberance  of  projecting  muscle,  their  prodigiously  marked 
development  and  action,  exhibit  a great  power  in  the  reproduc- 
tion of  physical  exertion  in  the  human  body,  whilst  the  composi- 


[ 113  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


tion  of  the  figures  proves  a study  of  the  antique,”  to  quote 
Crowe  and  Cavalcaselle. 

The  same  characterization  applies  also  to  the  Hercules 
figure  in  the  Jarves  picture;  the  display  of  physical  exertion, 
of  a stalwart  form  in  movement,  could  hardly  be  more 
emphasized. 

The  influence  of  the  antique,  which  Crowe  and  Cavalcaselle 
point  out  in  connection  with  the  other  Hercules  representations, 
is  also  true  with  regard  to  the  J arves  picture ; indeed,  we  have 
reason  to  assume  that  the  composition  was  inspired  by  some 
antique  relief.  There  exists  in  the  National  Museum  in  Stock- 
holm a drawing  of  the  same  motive — Hercules  shooting  at 
Nessus — evidently  by  a Florentine  master  who  was  closely  con- 
nected with  Filippino  Lippi ; and  this  drawing  reproduces  also 
figures  which  appear  on  a Roman  sarcophagus  (cf.  Robert, 
Antike  Sarkophagreliefs,  III).  The  Filippinesque  drawing 
and  the  Pollajuolo  picture  are  evidently  derivations  from  the 
same  prototype,  and  there  can  be  little  doubt  that  this  was  a 
Roman  sarcophagus. 

The  popularity  of  the  motive  is  further  proved  by  its 
recurrence  on  a Florentine  cassone  in  the  collection  of  Sir  Fred- 
erick Cook,  Richmond, — a picture  which,  for  good  reasons,  has 
been  dated  1467.  But  whether  this  cassone  decoration  is  a 
copy  after  Pollajuolo ’s  painting  or  another  derivation  from 
the  same  antique  model  remains  open  to  discussion.  It 
is  evident  in  any  case  that  Pollajuolo ’s  painting  was  executed 
before  1467. 

Knowing  the  original  source  of  the  figures,  it  is  so  much 
the  more  interesting  to  note  how  Pollajuolo  transmutes  the 
rather  flaccid  late  Roman  relief  style  into  forms  of  sheer  energy 
and  rhythm,  and  how  he  transplants  the  whole  scene  into  a land- 
scape which  is  a surprisingly  true  and  accurate  reproduction  of 


[ H4  ] 


Florentine  Drawing,  End  of  the  XVth  Century 

Copied  from  Antonio  Pollajuolo's  picture  in  the  Jarves  Collection.  Formerly  in  the 
Beckeraht  Collection,  now  in  the  Printroom.  Berlin 


ANTONIO  POLLAJUOLO 


the  Arno  valley  around  Florence.  It  is  actually  one  of  the  best 
landscapes  in  Florentine  quattrocento  painting. 

This  combination  of  a classical  trend  in  the  formal  figure 
composition  with  an  intense  naturalism  in  the  individual  setting 
of  the  motive  is  characteristic  of  all  the  great  masters  of  the 
Early  Renaissance,  but  it  has  here  found  an  unusually  striking 
and  typical  expression. 

There  can  be  no  doubt  that  Antonio  was  responsible  for  the 
whole  composition,  the  fine  landscape  and  the  stalwart  figure  of 
Hercules.  But  the  centaur  and  the  woman  are  evidently  some- 
what inferior  in  quality.  Deianira  looks  more  like  a puppet 
than  a human  being — and  she  is  comparatively  well  pre- 
served— Nessus  is  feeble  and  slack  in  his  movements  in  com- 
parison to  the  hero  with  the  bow.  The  evident  inferiority  in 
regard  to  both  form  and  movement  which  is  discernible  in  these 
figures  cannot  be  explained  by  the  subsequent  restorations  of 
the  picture ; they  must  have  been  painted  by  another  hand  than 
the  rest  of  the  picture.  They  are  the  work  of  Piero,  the  younger 
brother.  Their  smallish  types  and  slender  bodies  are  quite 
characteristic  of  Piero  and  still  more  so  are  the  relative  awk- 
wardness and  stiffness  of  their  movements.  Piero  must  have 
been  quite  a young  man  when  he  assisted  his  brother  in  the  exe- 
cution of  this  work ; it  cannot  be  much  later  than  the  Hercules 
panels  in  the  Uffizi,  which  generally  are  dated  at  the  beginning 
of  the  sixties.  Piero  executed  also  in  1465  the  large  altar-panel 
with  the  three  saints  for  the  Portuguese  chapel  in  San  Miniato, 
which  is  one  of  his  best  works.  The  figures  of  this  altar-panel 
are  closely  related  to  his  share  in  the  Jarves  picture,  and  that 
gives  us  an  additional  reason  to  assume  that  the  two  pictures 
were  painted  about  the  same  time. 

Antonio’s  Hercules  figure  in  this  picture  seems  to  have  been 
very  famous  at  one  time.  It  is  proved  by  the  fact  that  Purer 


[ H5  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


imitated  it  with  but  little  variation  in  his  picture,  the  Combat 
with  the  Stymphalides  (dated  1500),  now  in  the  museum  at 
Nuremberg.  The  outer  form  and  position  of  the  figures  are 
closely  copied,  but  the  German  master  was  not  able  to  attain 
the  energy  and  elasticity  which  characterize  the  Florentine 
figure.  It  is  possible,  as  Mr.  Berenson  has  suggested,  that 
Diirer’s  acquaintance  with  the  Hercules  was  derived  from  a 
drawing  which  is  now  in  the  Print  Collection  of  the  Berlin 
Museum  (formerly  in  the  Beckerath  Collection)  and  which 
has  been  wrongly  regarded  as  Antonio’s  original  study  for  the 
Hercules. 

The  question  about  Diirer’s  indebtedness  to  Pollajuolo  was 
discussed  more  closely  by  Bertha  M.  Howland  in  an  article  in 
the  Burlington  Magazine , April,  1906,  in  which  she  calls 
Diirer’s  painting  “an  imitative  essay”  after  Pollajuolo,  and 
points  out  that  an  intermediate  step  between  the  two  paintings 
is  formed  by  Diirer’s  drawing  of  Hercules  with  the  bow  in 
Darmstadt.  That  does  not,  however,  disprove  Mr.  Berenson ’s 
theory  that  Diirer  was  inspired  not  by  the  painting  itself,  but 
by  a drawing  copied  from  it. 

The  drawing  in  question,  which  is  done  with  pen  and 
ink  and  partly  pricked  for  transfer,  has  been  the  subject  of 
some  controversy.  Mr.  Berenson  called  it  “a  copy  treated  in 
an  almost  frivolous,  decorative  spirit”  (Drawings  of  the  Flor- 
entine Masters,  vol.  II,  p.  134)  and  Herr  von  Beckerath  praised 
it  as  one  of  the  greatest  masterpieces  by  Antonio  Pollajuolo 
(Repertorium  fur  Kunstwissenschaft,  1905,  p.  115),  also  quot- 
ing a letter  from  Professor  Weir  who  agreed  that  the  drawing 
doubtless  was  a sketch  for  the  painting. 

We  have  no  doubt  that  Mr.  Berenson  is  right  in  regarding 
the  drawing  as  a copy  after  the  painting.  It  lacks  all  the 
energy  and  vital  tension  of  the  painted  figure ; and  the 


[ H6  ] 


Florentine  Drawing,  End  of  the  XVth  Century 

Probably  suggested  by  reliefs  on  Roman  sarcophagi.  Formerly  in  Giorgio  Vasari’s  Collection, 
now  in  the  National  Museum  in  Stockholm 


ANTONIO  POLLAJUOLO 


small  variations  it  shows  from  the  Hercules  in  the  painting — 
for  instance,  in  the  position  of  the  head — are  just  so  many  signs 
of  the  inferiority  of  the  copyist’s  hand.  The  fact  that  the 
drawing  is  of  the  same  size  as  the  painted  figure  gives  us  also 
reason  to  assume  that  it  was  actually  copied  from  this ; and  in 
tracing  the  contours  the  copying  master  not  only  lost  the  life 
of  the  original,  but  he  also  was  unable  to  give  the  very  important 
side  movement  of  the  head. 

Like  most  of  Antonio  Pollajuolo’s  paintings,  this  masterly 
figure  of  Hercules  killing  Nessus  certainly  must  have  excited 
the  greatest  admiration  among  contemporary  and  younger 
masters  in  Florence,  and  nothing  is  more  natural  than  that  they 
should  try  to  copy  it  and  use  it  for  their  own  creations. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II. 

Berenson,  Florentine  Painters,  and  The  Drawings  of  the  Florentine 
Painters. 

Von  Beckerath  in  Repertorium  fur  Kunstwissenschaft,  1905. 

Notes  by  Frank  J.  Mather  and  Herbert  Cook  in  the  Burlington  Maga- 
zine, 1906. 

M.  Cruttwell,  Antonio  Pollajuolo. 


[ H7  ] 


FOLLOWER  OF  FRA  FILIPPO  LIPPI 


The  artistic  personality  who  was  responsible  for  the  picture 
described  below  is  well  known  to  all  students  of  Florentine  art,  but 
his  actual  name  is  still  to  be  discovered.  He  has  in  later  years 
sometimes  been  identified  with  Pier  Francesco  Fiorentino,  but  in 
view  of  the  great  differences  in  style  exhibited  by  the  signed  works 
of  this  master,  the  identification  seems  to  us  misleading.  Our 
anonymous  painter  was  also  evidently  older  than  Pier  Francesco 
Fiorentino ; his  art  is  more  archaic.  His  main  activity  belongs  to  the 
sixties  and  seventies  of  the  XV  century,  and  the  dominating  influence 
in  his  work  seems  to  have  been  that  of  Fra  Filippo  Lippi ; while  Pier 
Francesco  Fiorentino ’s  style  is  a derivation  from  Neri  di  Bicci’s  and 
Benozzo  Gozzoli’s.  We  have,  indeed,  good  reason  to  assume  that 
this  anonymous  painter  was  an  assistant  of  Fra  Filippo  for  several 
years,  as  many  of  his  compositions  are  practically  copies  of  those 
by  the  Frate. 


43.  MADONNA  SURROUNDED  BY  ANGELS  AND 
SAINT  CATHERINE 

The  Virgin  is  seated  turned  to  the  right ; the  figure  is  cut  off  below  the 
knees.  She  holds  her  hands  clasped  in  adoration  of  the  Child,  who  sits  on  a 
cushion  on  her  knees.  In  the  lower  left  corner  Saint  Catherine  appears — 
head  and  shoulders  only — and  behind  the  Madonna  four  angels  peep  out. 
The  background  is  filled  by  a rose-hedge.  The  top  of  the  picture  is  curved. 
The  Virgin  wears  a dark  blue  mantle  over  a red  undergarment;  Saint 
Catherine’s  garment  is  also  carmine  red,  the  cushion  under  the  Child  cinnobar. 
Pink  roses  against  a green  sky. 

"Wood.  H.  4414  iu.  W.  29%  in. 

Old  Catalogue  No.  61.  “Fra  Diamante.  Attributed  to  him  and,  if  by 
him,  in  his  early  manner.” 


[ 119  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


The  old  attribution  points  doubtless  in  the  right  direction, 
but  it  is  impossible  to  state  whether  the  painter  actually  was 
Fra  Diamante  or  some  other  assistant  of  Fra  Filippo,  because 
we  have  no  signed  work  by  Fra  Diamante.  It  is,  however, 
evident  that  the  present  picture  is  a copy  after  some  painting 
or  cartoon  by  Fra  Filippo,  now  lost.  The  only  element  which 
the  artist  has  added  by  himself  is  the  rose-hedge  in  the  back- 
ground; this  recurs  in  several  of  his  Madonna  pictures — for 
instance,  those  in  Berlin  and  Frankfort.  The  love  of  flowers 
and  the  childish  naivete  which  the  painter  displays  in  so  many 
of  his  productions  gives  them  a charm  independent  of  the 
borrowed  compositions  and  the  stilted  drawing.  The  present 
picture  is  one  of  the  most  attractive  examples  of  his  art;  its 
preservation  is  very  good. 

Rankin  in  American  Journal  of  Archaeology,  1895,  IT.  (School  of  Fra 
Filippo.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  II  ed.  (Pier  Fran- 
cesco Fiorentino.) 


[ 120  ] 


43. 


Follower  of  Fra  Filippo  Lippi 
Madonna  Surrounded  by  Angels  and  Saint  Catherine 


<-  ATAUXUTE  os? 


T HE  J. A BYES  COLLECTION 


Fo  ;0\i  lotion  points  doubtless  in  the  right  direction, 
h.i]  -sidle  to  state  whether  the  painter  actually  was. 
.-ante  or  some  other  assistant  of  Fra  Filippo,  because 
we  have  no  signed  work  by  Fra  Diamante.  It  is,  however, 
evident  that  the  present  picture  is  a copy  after  some  painting 
or  cartoon  by  Fra  Filippo,  now  lost.  The  only  element  which 
the  artist  has  added  by  himself  is  the  r<  - ge  in  the  back- 
ground; this  recurs  in  several  of  his  ona  pictures — for 
instance,  those  in  Berlin  and  Frankfort.  The  love  of  dowers 
and  the  childish  naivete  which  the  painter  displays  in  so  numy 
of  his  productions  gives  them  a charm  independent  of  the 
borrowed  compositions  and  the  stilted  drawing.  The  present 
picture  is  one  of  the  most  attractive  examples  of  his  art;  its 
preservation  is  very  good. 


Rankin  in  America 
Filippo.) 

Berenson,  P • ■ >r< . . • u . : <:  (Pier  Jran- 

eeseo  Fiorentino.) 


[ 120  ] 


ithiJ  oHsui’i  Afl  1 to  nawojjo^ 
sniisrlifiO  inieg  brifi  ab^nA  babnuo-nug  finnobsM  .8* 


FRANCESCO  BOTTICINI 


Francesco  di  Giovanni,  called  Botticini,  was  one  of  the  best 
secondary  masters  in  Florence  during  the  later  half  of  the  XV 
century.  He  was  born  in  1446,  and  in  1459  he  was  placed  by  his 
father  in  Neri  di  Bicci’s  studio,  to  learn  the  craft  of  a painter.  He 
soon  left  his  master,  however,  as  is  proved  by  a passage  in  the 
“Ricordi”  of  Neri  di  Bicci.  Some  influence  of  Neri’s  style  may  be 
discovered  in  Botticini ’s  early  work,  the  Coronation  of  the  Virgin 
in  Turin.  The  main  factors  for  the  formation  of  Botticini ’s  style 
were,  however,  Andrea  del  Castagno,  Cosimo  Rosselli  and  Verroc- 
chio, three  leading  masters  with  whom  he  successively  came  in  con- 
tact during  the  sixties  and  seventies.  We  can  trace  the  influence  of 
each  one  of  these  in  separate  works  by  Botticini,  and  there  has 
been,  indeed,  a good  deal  of  confusion  between  his  works  and  those 
of  the  men  he  imitated.  Later  on  he  worked  for  some  time  with  Botti- 
celli, as  is  proved  by  the  large  Assumption  of  the  Virgin  (1472)  in 
the  London  National  Gallery.  Botticini  died  in  1498. 

44.  PENANCE  OF  SAINT  JEROME,  AND  SAINT  FRAN- 
CIS RECEIVING  THE  STIGMATA 

In  the  foreground  to  the  left  Saint  Jerome  is  kneeling  before  a crucifix, 
holding  a rough  stone  in  his  right  hand  with  which  he  beats  his  breast. 
Behind  him  opens  the  cave,  and  the  lion  is  lying  at  his  side.  Higher  up  on 
the  rock  to  the  right  Saint  Francis  is  kneeling  with  outstretched  arms  receiv- 
ing the  gold  rays  which  emanate  from  the  crucified  seraph  in  the  air  above. 
His  companion,  Brother  Leo,  is  sitting  near  by,  seen  from  behind.  The 
landscape  is  rocky,  with  some  dark  trees  and  shrubs  between  the  cliffs,  but 
in  the  background  opens  a light  sea  view.  Above  in  the  clouds  the  Annun- 
ciation is  represented  with  quite  small  figures;  and  below,  at  the  foot  of 
the  picture,  a tablet  is  introduced  with  the  dead  Christ  (a  “pax  tablet”). 


[ 121  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


The  mountains  are  painted  in  gray  and  reddish  brown  tones,  the  trees  dark 
green,  the  sky  light  bluish  green. 

On  the  back  of  the  panel  is  a seal  with  the  Medici  arms,  proving  that 
it  has  been  in  the  collection  of  that  family. 

Wood.  H.  131,4  in.  W.  9i/2  in. 

Old  Catalogue  No.  59.  “Unknown  painter.  Umbrian  School,  fifteenth 
century,  probably  before  1450.  ’ ’ 

The  close  stylistic  connection  between  this  interesting 
little  picture  and  Botticini’s  authentic  works  in  Florence, 
Empoli  and  London  may  not  appear  to  the  casual  beholder, 
because  the  painter  is  mainly  known  through  his  later  creations 
in  which  his  mannerism  is  further  developed.  In  this  picture 
he  is  still  more  or  less  under  the  influence  of  his  teacher,  Cosimo 
Rosselli.  The  penitent  Saint  J erome  is  a direct  derivation  from 
Cosimo ’s  old  men,  and  Saint  Francis  also  recalls  certain  figures 
by  the  master.  The  treatment  of  the  mantle  folds  and  the 
peculiar  formations  of  the  rocks  afford,  however,  evidence 
enough  for  the  attribution  of  the  painting  to  Botticini. 

The  same  kind  of  long,  stretched  folds  that  we  see  in  the 
mantles  of  these  two  men  can  be  observed  in  several  early  works 
by  Botticini,  as  for  instance  the  beautiful  Madonna  in  the 
Holden  Collection  in  Cleveland,  and  the  predella  pictures  in  the 
Metropolitan  Museum.  Among  the  figures  in  these  last  named 
small  panels  we  also  find  several  closely  corresponding  in  type 
to  the  two  saints  in  the  Jarves  picture.  A marked  peculiarity 
is  the  drawing  of  Saint  Jerome’s  toe,  which  is  curved  against 
the  ground  in  exactly  the  same  way  as  Joseph’s  toe  in  the 
Sposalizio  of  the  predella  panel. 

Even  more  important  as  an  evidence  for  our  attribution 
of  the  picture  to  Botticini  is  the  landscape.  The  rocks,  which 
seem  to  be  made  of  clay  arranged  in  vertical  layers,  and  the 
open  stretch  of  light  blue  sea  in  the  background  are  perfectly 


[ 122  ] 


Francesco  Botticini 


44.  Penance  of  Saint  Jerome,  and  Saint  Francis  Receiving  the  Stigmata 


CATALOGUE  OF  THE  JAKVES  COLLI"  'd  - 

The  mountains  to  painted  in  gray  and  reddish  brown  tom  „ . 
preen  the  sky  light  bluish,  green. 

On  the  hack  of  the  panel  is  a seal  with  the  Medici  arms.  prwj,?  m 
it  has  been  in  the  collection  of  that  family. 

Wood.  H.  131/4  in.  W.  9%  in. 

Old  Catalogue  No.  59.  40  • n painter.  Lu 

century,  probably  before  1450.’ ; 

The  close  stylistic  connection  between  this 
little  picture  and  Botticini’s  authentic  works  in  k M ■■  ■■  ■■ 
Empoli  and  London  may  not  appear  to  the  casual  beho  a r . 
because  the  painter  is  mainly  known  through  Ins  later  ereata, nr 

in  which  his  mannerism  is  further  developed,  n s pie  uu 

he  is  still  more  or  less  under  the  influence  of  his  teacher,  Cosmm 
Rosselli.  The  penitent  Saint  Jerome  is  a direct ; ,de  ^ ^ 

Cosimo’s  old  men,  and  Saint  Francis  also  recalls  era  » ^ . 

hv  the  master.  The  treatment  of  the  mantle  iwii  <*n« 
/,.rliar  1 ormations  of  the  rocks  afford,  however,  _ evidence 
-HC  attribution  of  the  painting  to  Botticini. 

kind  of  long,  stretched  folds  that  we  see  m the 
r >hs>  1 sd  D several  early  works 
. . tV..„  |nstanee  the  beautiful  Madonna  in  the 

T°  r / ’ Cleveland,  and  the  predella  pictures  in  the 
fetronolitan  Museum.  Aim  « figures  in  these  last  named 
also  find  several  closely  corresponding  » type 

sm““l  . nieture  A marked  peculiarity 

f a -Hip  two  saints  m the  Jarves  picime.  a * x . 

Z the  drawing  of  Saint  Jerome’s  toe, 

the  ground  in  exactly  the  same  way  as  Joseph  - 

Sposakzio  of  thepiedellapa-ai-  . our  attribution 

TiiVpn  more  important  as  an  evioem  . , 

f the  picture  to  Botticini  is  the  landscape.  The  rocks,  whicn 
;p  to  be  made  of  clay  arranged  in  vertical  layers,  and  t 

stretell  of  light  hlue.sea  feS)fiAackgr0'md  are  * 7 

BjBnrgrjg  9rll  3nm909.fi  8ioam'iI  Jflifiggfinil  .gmoiaL  Jnin3  lo  9oru3fi9c[  .14 


FRANCESCO  BOTTICINI 


characteristic  of  the  master,  and  may  be  identified,  for  instance, 
in  the  above-mentioned  predella.  The  whole  landscape  has 
quite  a charm  of  its  own,  though  it  is  less  free  and  decorative 
than  in  the  works  of  some  of  the  greater  contemporary  masters. 
Even  the  small  figures  up  in  the  clouds  tend  to  prove  the 
master’s  hand;  they  are  just  like  the  pen  sketches  by  Botticini 
in  the  National  Museum  in  Stockholm. 


[ 123  ] 


FOLLOWER  OF  FRANCESCO  PESELLINO 


Florentine  painter  about  the  middle  of  the  XV  century,  from 
the  school  of  Fra  Filippo  Lippi  and  Pesellino,  influenced  by  Baldo- 
vinetti. 


45.  THE  VIRGIN  ADORING  THE  CHRIST  CHILD 

The  Virgin  is  kneeling  on  a flowery  meadow,  bending  down  with 
clasped  hands  over  the  Child,  who  lies  on  a fold  of  her  mantle.  The  back- 
ground is  filled  with  a varied  landscape  consisting  of  steep  hills  and  rocks 
on  both  sides,  and  an  open  view  over  a river  valley  between  them.  In  the 
middle  distance  to  the  right,  Saint  Jerome  is  kneeling  before  the  entrance  to 
his  grotto,  and  on  the  mountain  to  the  left  Saint  Francis  is  receiving  the 
stigmata.  The  little  Saint  John  and  Tobit  accompanied  by  the  archangel 
are  walking  down  the  road  from  the  mountain.  The  Virgin  has  a light 
blue  mantle  over  a pink  robe ; the  principal  tones  of  the  landscape  are  brown 
and  gray;  the  sky  has  a soft  bluish  hue.  The  picture  is  admirably  preserved 
and  has  still  its  original  tabernacle  frame  with  two  coats  of  arms  on  it. 

Wood.  H.  36y2  in.  W.  22  in. 

Old  Catalogue  No.  41.  “Masolino  da  Panicale.” 

This  is  a remarkably  fine  and  attractive  example  of  Floren- 
tine painting  from  the  middle  of  the  XV  century,  though  hardly 
by  any  of  the  leading  masters.  It  shows  the  influence  of  men 
like  Fra  Filippo  and  Pesellino,  but  reveals  at  the  same  time  a 
separate  artistic  personality  who,  we  believe,  is  discernible  also 
in  some  other  paintings.  We  may  observe  the  same  hand,  for 
instance,  in  two  large  cassone  panels  in  the  Metropolitan  Mu- 
seum representing  scenes  from  the  story  of  the  Argonauts, 
which  were  sold  under  the  name  of  Pesellino  at  the  Bardini 


[ 125  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


sale  in  London  in  1899  and  presented  to  the  museum  by  Mr. 
Pierpont  Morgan  in  1909. 

The  remarkable  stylistic  corresj)ondences  between  these 
cassone  pictures  and  the  kneeling  Madonna  described  above  are 
manifest  both  in  the  types  and  in  the  treatment  of  the  draperies, 
and  perhaps  still  more  in  the  peculiar  formations  of  the  land- 
scape. The  rocks  have  a very  distinct  character,  being  more 
like  pieces  of  biscuit  than  stone;  Saint  Jerome’s  cave  in  the 
J arves  picture  and  the  cave  in  front  of  which  three  nymphs  are 
abducting  Hylas  in  one  of  the  cassone  panels  seem  both  to  be 
built  up  of  piecrust.  The  distant  views  have  the  same  limpid 
air  over  winding  waters — a landscape  which,  particularly  in 
the  Jarves  picture,  has  something  of  the  same  charm  that  we 
find  in  Baldovinetti ’s  wide  background  views.  A characteristic 
resemblance  is  also  offered  by  the  very  light  and  clear  color- 
scheme  with  soft  blue,  pink  and  amethyst  as  the  leading  tones. 
We  have  no  doubt  that  the  same  master  painted  the  kneeling 
Madonna  and  the  greater  part  of  the  two  charming  cassones; 
and  we  also  recognize  his  hand  in  a third  cassone  panel  repre- 
senting the  flight  of  the  Vestals,  in  the  Ashmolean  Museum  in 
Oxford.  In  the  cassone  pictures  he  is  somewhat  closer  to 
Pesellino  than  in  the  larger  Madonna  painting  where  the  influ- 
ence of  Fra  Filippo  and  Baldovinetti  is  more  discernible.  This 
is  probably  the  earliest  of  these  paintings,  hardly  done  much 
later  than  1460. 

The  attribution  of  the  cassones  in  the  Metropolitan  Mu- 
seum has  remained  uncertain,  though  they  have  been  discussed 
by  at  least  two  authorities  on  early  Florentine  art.  They  were 
published  by  Dr.  Weisbach  in  his  book,  “Francesco  Pesellino 
und  die  Romantik  der  Renaissance”  (1901),  where  he  combines 
them  with  two  other  well-known  cassones,  representing  the 
battle  of  Anghiari  and  the  siege  of  Pisa,  formerly  in  the  Butler 


[ 126  ] 


Follower  of  Francesco  Pesellino 
45.  The  Virgin  Adoring  the  Christ  Child 


•ALOG-UE  OF  THE  JARVES  COl  LECTO  ' 

London  in  1899  and  presented  to  the  mseum  by-  M 

Pierpont  Morgan  in  1909. 

The  remarkable  stylistic  correspondences  between  these 
cassone  pictures  and  the  kneeling  Madonna  dese  ibed  above  are 
manifest  both  in  the  types  and  in  the  treatment  o the  draperies, 
and  perhaps  still  more  in  the  peculiar  forma  tio.  s of  the  land- 
scape. The  rocks  have  a very  distinct  charact.  p being  more 
like  pieces  of  biscuit  than  stone;  Saint  Jerome  s cave  in  the 
Jarves  picture  and  the  cave  in  front  of  which  thr  e nymphs  are 
abducting  Hylas  in  one  of  the  cassone  panels  se  m both  to  be 
built  up  of  piecrust.  The  distant  views  have  th<  same  limpid 
air  over  winding  waters — a landscape  which,  p rticularly  in 
the  Jarves  picture,  lias  something  of  the  same  c.  arm  that. we 
find  in  BaldovinettPs  wide  background  views.  A ha --act eristic 
resemblance  is  also  offered  1 er y light  an. 

gfcfiesne  with  blue,  pink  and  amethyst  as  the  1 feading  tones. 
*v  no  doubt  that  the  same  master  painted  the  kneeling 

greater  part  of  the  two  charm:  r e * mm 
••an.ize  his  hand  in  a third  cassone  pern  ;•  repre- 
flight  of  the  Vestals,  in  the  Ashmoleai  Museum  in 
Isford.  In  the  cassone  pictures  he  is  somewhat  closer  to 
‘esellino  than  in  the  larger  Madonna  painting  where  the  influ- 
ence of  Era  Filippo  and  Baldovinetti  is  more  diseei  nible.  This 
is  probably  the  earliest  of  these  paintings,  hardly  done  much 
later  than  1460. 

The  attribution  of  the  cassones  in  the  Metropolitan  Mu- 
seum has  remained  uncertain,  though  they  have  been  discussed 
by  at  least  two  authorities  on  early  Florentine  art.  They  were 
published  by  Dr.  Weisbach  in  bis  book,  “ Francesco  Pesellmo 
1 die  Romantik  der  Renaissance”  (1901),  where  he  combines 
, -n  vPth  two  other  well-known  cassones,  representing  the 
c of  A.ughiari  and  the  siege  of  Pisa,  formerly  in  the  Sutler 

[ 126  ] 

omjjaga4  oosiaoviAH'l  ao  Hawojjo'l 
bliriO  JahrlO  sd}  ^nhobA  ni^iiV  adT  .£1 


FOLLOWER  OF  FRANCESCO  PESELLINO 


Collection  and  later  in  the  possession  of  Mr.  Grenfell,  London. 
This  combination  seems  to  us,  however,  unconvincing;  the  two 
pairs  of  cassones  are  not  by  the  same  hand,  though  they  have 
several  points  of  resemblance.  Another  hypothesis  about  the 
Metropolitan  Museum  cassones  was  expressed  by  Mary  Logan 
in  an  article  in  the  Gazette  des  beaux  Arts,  October,  1901,  in 
which  she  discusses  the  works  by  a certain  pupil  of  Pesellino 
whom  she  calls  “Compagno  di  Pesellino.”  According  to  her 
opinion,  the  cassones  show  close  stylistic  correspondences  with 
the  works  by  this  master  (and  by  Pesellino) ; but  in  spite  of 
this  she  holds  that  they  were  painted  by  Jacopo  del  Sella  jo, 
though  finally  admitting  that  if  her  attribution  is  right,  these 
pictures  “montre  le  peintre  (Sella jo)  sous  un  jour  nouveau, 
com  me  imitateur  de  Pesellino  ou  plutot  du  peintre  qui  apres  la 
mort  de  Pesellino  soutint  le  plus  fidelement  sa  tradition” 
(Compagno  di  Pesellino). 

The  “new  light”  in  which  these  pictures  would  show 
Sellajo ’s  art,  if  the  attribution  be  correct,  makes  them,  indeed, 
appear  so  unlike  everything  else  we  know  by  the  master  that 
we  feel  unable  to  follow  the  suggested  solution  of  the  problem. 
The  connection  with  Sellajo  is  probably  that  of  common 
school  and  artistic  training;  but  it  is  hardly  characteristic 
enough  to  allow  an  attribution  to  Sellajo  himself.  We  prefer 
to  think  that  the  painter  was  an  older  fellow-student  of  Sellajo; 
in  fact,  he  stands  closer  to  the  so-called  Compagno  di  Pesellino 
than  to  Sellajo.  But  as  the  definition  of  the  artistic  personality 
of  this  “Compagno”  is  still  rather  wavering  we  also  hesitate 
to  ascribe  the  pictures  in  question  to  him.  We  see  a very  close 
correspondence  between  the  Jarves  Madonna  and  a picture 
once  in  the  possession  of  Messrs.  Dowdeswell  which  is  repro- 
duced in  Mary  Logan’s  article  on  the  “Compagno,”  but  other 
pictures  given  to  the  same  artist,  such  as  the  Dresden  Madonna, 


[ 127  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


or  a Madonna  in  the  Johnson  Collection  in  Philadelphia,  seem 
to  wipe  out  most  of  the  better  qualities  and  individual  features 
of  this  constructed  artist. 

We  must,  therefore,  simply  acquiesce  in  the  statement  that 
the  same  master  painted  the  Jarves  Madonna  and  the  cassones 
in  the  Metropolitan  Museum  and  in  the  Ashmolean  Museum  in 
Oxford.  We  do  not  know  his  name,  but  we  can  classify  him 
among  Pesellino’s  immediate  followers;  and  we  have  good  rea- 
son to  believe  that  he  was  one  of  those  minor  artists  who  spent 
most  of  their  lives  in  working  as  assistants  in  the  bottegas  of  one 
or  two  of  the  leading  masters  of  that  time. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of  Fra 
Filippo.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 


[ 128  ] 


Jacopo  del  Sellajo 
46.  Madonna  Seated  on  Clouds 


.OG-TTE  < ' T JAEVES  COLJ.EC  : i • 

or  h M adonm.  - me  Johnson  Collection  in  Plhiadelphk-,  m - 
to  wipe  '.o;  xu  /St  of  the  "better  qualities  and  aa ’ '■  it.-'- 

of  this  constructed  artist. 

We  must,  therefore.,  K-huply  acquiesce  m A,  ■ 0 metn  ■' 
the  same  master  painted  the  Jarves  Madonna  mu 

hi  the  Metropolitan  Museum  and  in  the  A da  - 
Oxford.  We  do  not  know  his  name,  but  vi  ; ahmAY  hvn 
among  Pesellino.’s  immediate  followers ; an  mm  good  1 1 - 
son  to  believe  that  he  was  one  of  those  minor  ai  to  a who  sp  r- 
most  f their  lives  in  working  as  assistants  in  the  bottegas  of  one 
or  two  of  the  leading*  masters  of  that  time. 

Ranldn  in  American  Journal  of  Archaeology,  1895,  II  »v School  of  Fra 

Filippo.) 

■ . ■ t’l  : Ef  am *ara* ; 1 : : N ■ 


[ 128  ] 


' ■ 


ot,A.ua3  jaa  otooaL 
gbuoIO  no  bolBa3  BanobsM  .9^ 


JACOPO  DEL  SELLAJO 


Jacopo  was  born  in  Florence  in  1442,  the  son  of  the  saddler 
Arcangelo;  hence  the  name  Sellajo.  He  probably  received  his 
artistic  training  under  Fra  Filippo  Lippi,  but  he  was  of  an  unusually 
versatile  and  eclectic  talent,  and  imitated  several  of  the  contempora- 
neous masters,  particularly  Botticelli,  Gbirlandajo  and  Cosimo 
Rosselli.  From  1460  he  was  inscribed  in  the  Compagnia  di  San  Luca 
and  later  on  he  kept  a large  workshop  in  Florence  where  a great 
number  of  paintings  were  executed,  partly  with  the  assistance  of  his 
son  Arcangelo  and  other  painters  such  as  Filippo  di  Giuliano.  He 
died  in  1493.  The  list  of  works  nowadays  ascribed  to  Sellajo  is 
long,  and  it  is  likely  that  several  of  these  were  executed  in  large  part 
by  his  assistants. 


46.  MADONNA  SEATED  ON  CLOUDS 

She  is  supported  by  two  cherubs  and  adored  by  two  angels.  The  Virgin 
bolds  in  the  right  hand  a white  lily,  and  with  the  left  supports  the  Child, 
who  is  standing  entirely  naked  on  her  knee.  She  is  represented  in  full 
length,  and  turned  almost  full  face  towards  the  beholder.  The  eyes  are 
looking  down  with  lowered  lids.  The  Virgin’s  mantle  is  bluish  green,  her 
undergarment  pink,  the  sky  is  light  blue,  the  clouds  violet. 

Wood.  H.  42i/2  in.  W.  26y2  in. 

Old  Catalogue  No.  72.  “Cosimo  Rosselli.” 

The  old  attribution  of  this  Madonna  to  Cosimo  Rosselli  is 
by  no  means  surprising,  because  the  composition  is  only  a 
slightly  revised  version  of  Cosimo  Rosselli ’s  well-known  Ma- 
donna from  the  Santa  Maria  Nuova  Collection  now  in  the 
Uffizi.  The  position  of  the  figures  is  practically  the  same  in 

[ 129  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


both  pictures,  though  Cosimo ’s  group  is  more  intimate;  the 
Child  lays  His  arm  around  the  mother’s  neck  and  she  supports 
Him  with  both  hands.  In  Sellajo’s  painting  the  relation  between 
the  two  figures  is  less  close ; the  naked  Child  is  balancing  in  a 
rather  unsteady  position  on  the  mother’s  knee,  and  she  takes 
little  notice  of  Him,  supporting  Him  only  slightly  with  one  hand 
while  the  other  hand  is  holding  the  large  lily.  Her  almost 
closed  eyes  add  also  to  the  impression  of  dreamy  unconcerned- 
ness. The  two  chubby  baby  angels,  who  adore  the  Madonna  in 
Sellajo’s  picture,  are  introduced  instead  of  the  two  grown-up 
sisters  who  are  holding  a crown  over  Cosimo  Rosselli’s  Ma- 
donna; and  the  small  cherubs  are  somewhat  changed  in  their 
position.  Besides  these  modifications  in  composition,  all  the 
types  are  altered  in  a very  characteristic  way ; they  have  become 
more  round  and  childish  than  in  Cosimo  Rosselli’s  picture,  and 
have  the  broad  forehead  and  turned-up  nose  that  one  may 
observe  in  most  of  Sellajo’s  authentic  paintings.  The  picture, 
as  a whole,  is  not  a copy ; it  is  a free  individual  translation  of  a 
composition  that  Sella  jo  probably  admired  in  the  studio  of 
Ins  teacher,  and  it  is  a rather  interesting  illustration  of  the 
painter’s  unscrupulous  methods. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Pupil  of 
Rosselli.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 


47.  SAINT  SEBASTIAN 

The  youthful  saint  stands  naked,  except  for  a cloth  around  the  loins, 
bound  to  a column  on  a parapet.  He  turns  his  head,  which  seems  to  be  a 
portrait,  towards  the  angel  who  is  floating  down  towards  him  with  the 
heavenly  crown  and  the  martyr’s  palm  in  his  hands.  The  bearing  of  the 
stately  saint  is  perfectly  free  and  painless ; the  arrows  in  his  body  are  treated 


[ 130  ] 


Jacopo  del  Sellajo 


47.  Saint  Sebastian 


CATALOGUE  OF  THE  JA.RVES  COLLECTION 

both  pictures,  though  Cosimo ’s  group  is  more  intimate;  the 
Child  lays  His  arm  around  the  mother’s  neck  and  she  supports 
Him  with  both  hands.  In  Sella  jo’s  painting  the  relation  between 
the  two  figures  is  less  dase ; the  naked  Child  is  balancing  in  a 
rather  unsteady  posit! on  the  mother’s  knee,  and  she  takes 
little  notice  of  Him,  sup;  i ng  Him  only  slightly  'with  one  hand 
while  the  other  hand  is  holding  the  large  A ; ■ “a 
closed  eyes  add  also  to  the  impression  of  dream}  uro  , 
ness.  The  two  chubby  baby  angels,  who  adore  the  Madonna  in 
Sella  jo’s  picture,  are  introduced  instead  of  the  two  grown-up 
sisters  who  are  holding  a crown  over  Cosimo  RosseJli’s  Ma- 
donna; and  the  small  cherubs  are  somewhat  changed  in  their 
position.  Besides  these  modifications  in  composition,  all  the 
types  are  altered  in  a very  characteristic  way;  they  have  become 
more  round  and  childish  than  in  Cosimo  Bosselli  '&  picture,  and 
have  the  broad  forehead  and  turned-up  nose  that  one  may 
observe  in  most  of  Sellajo’s  authentic  paintings,  The  cture 
as  a whole,  is  not  a copy;  i; 

composition  that  Sellajo  probably  ■ ■■ 

his  teacher,  and  it  U 1 eresting  illustration  of  the 

painter’s  unscrupni  ods. 

Rankin  in  A'-i’sriccM  Jovnon  of  Archowlogy,  189o,  It.  (Pupil  of 
Bosselli.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 

47.  SAINT  SEBASTIAN 

The  youthful  saint  stands  naked,  except  for  a cloth  around  the  loins, 
bound  to  a column  on  a parapet.  He  turns  his  head,  which  seems  to  be  a 
portrait,  towards  the  angel  who  is  floating  down  towards  him  with  the 
heavenly  crown  and  the  martyr’s  palm  in  his  hands.  The  bearing  of  the 
stately  saint  is  perfectly  free  and  painless;  the  arrows  in  his  body  are  treated 

[ 130  ] 


OUUJCT8  ohooaL 


nfitfgisctaa  inie8  .U 


JACOPO  DEL  SELLAJO 


merely  as  attributes.  The  background  is  filled  with  a view  of  some  churches 
and  houses,  which  according  to  traditional  statements  are  supposed  to 
represent  a part  of  Florence  with  the  tower  of  the  Badia.  This  identification 
is,  however,  rather  doubtful.  Behind  the  buildings  opens  a view  over  green 
hills.  The  sky  is  light  blue,  the  cloth  around  the  loins  of  the  saint  is  pink,  the 
buildings  are  brown.  On  the  parapet  runs  the  following  inscription:  FILII 
BARTHOLOMI  D(E)  NELIIS  DIE  P.  FEBRUARII  MCCCCLXXIX 
HOC  OPUS  FIERI  FECERUN(T). 

Wood.  H.  50%  in.  W.  24%  in. 

Old  Catalogue  No.  80.  “Filippino  Lippi.” 

This  picture  of  a rather  powerful  youth  stands  in  form  and 
feeling  closer  to  the  art  of  the  Ghirlandajos  than  to  any  of 
the  other  masters  Sellajo  more  frequently  followed.  It  recalls, 
for  instance,  the  two  saints  by  Davide  Ghirlandajo,  in  the  gal- 
lery at  Pisa.  The  somewhat  awkward  turning  of  the  body  and 
straddled  position  of  the  legs  is  rather  like  what  we  are  accus- 
tomed to  find  in  the  paintings  of  Ghirlandajo  and  his  pupils. 
Still,  the  type  is  stamped  by  the  formalism  of  Sellajo,  and  the 
angel  who  is  floating  down  is  a most  characteristic  creation  of 
the  master.  It  is  just  as  good  as  a signature. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 


48.  ACTION  AND  THE  HOUNDS 

Actaeon  was  a famous  huntsman,  son  of  Aristaeus  and  Antonoe,  daughter 
of  Cadmus.  According  to  Pausanias  and  Ovid,  he  saw  Diana  and  her 
attendants  bathing  near  Gargaphia,  for  which  he  was  changed  into  a stag  and 
devoured  by  his  own  hounds.  The  picture  illustrates  only  the  latter  part  of 
the  story;  we  must  presume  that  it  had  a companion  piece  which  illustrated 
the  first  part  of  the  story — Actaeon’s  irreverence  to  the  goddess  Diana.  The 
cassone  pictures  were  often  made  in  pairs. 

In  this  picture  only  the  head  of  Actaeon  is  changed  into  that  of  a stag. 
Three  principal  scenes  are  represented  in  a continuous  landscape  of  rather 


[ 131  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


fantastic  character.  First,  Action  discovers,  by  his  reflection  in  a pool  of 
water,  the  change  that  has  taken  place;  he  puts  his  hand  on  the  stag  nose 
to  see  if  the  change  is  real.  Some  grayhounds  are  watching  him.  In  the 
next  scene  he  seems  to  lament  his  fate;  two  boys  with  large  grayhounds  are 
running  towards  him.  Finally  we  see  Actaeon  trying  in  vain  to  escape  the 
dogs,  which  are  already  biting  his  legs.  The  landscape  is  composed  of  a 
flat  foreground  and  an  extensive  view  over  the  sea  in  the  background,  but 
this  is  divided  into  two  parts  by  a range  of  fantastic  rocks  and  some  shrubby 
trees.  The  background  has  a light  bluish  tint,  the  foreground  is  brownish 
with  dark  green  trees.  Actaeon  has  a pink  mantle,  the  boys  in  the  middle 
distance  are  in  green  and  red,  the  hounds  brown,  black  and  white. 

Wood.  H.  22  in.  W.  46  in. 

Old  Catalogue  No.  82.  “Piero  di  Cosimo. ” 

This  picture  has  originally  served  as  front  to  a cassone  or 
in  some  other  piece  of  furniture  and,  as  already  said,  it  evidently 
had  a pendant  representing  Diana  and  Actaeon.  The  attribution 
to  Sella  jo  is  proved  by  the  two  running  youths,  who  are  most 
characteristic  of  the  painter.  Other  characteristic  elements  are 
the  bristly  trees  and  the  rocks,  which  reappear  in  several  of 
Sellajo’s  paintings.  Sellajo  was  evidently  much  employed  for 
painting  cassones ; there  are  still  in  existence  a large  number  of 
such  decorative  paintings  in  the  master’s  style.  We  mention, 
for  comparison  with  the  present  one,  the  cassone  with  the  story 
of  Amor  and  Psyche  in  Fitzwilliam  Museum,  Cambridge,  and 
others  representing  the  Orpheus  myth  in  the  collections  of 
Count  Lanckoronski  and  von  Auspitz  in  Vienna.  These  are 
stylistically  closely  connected  with  the  present  one;  two  more 
of  the  same  group  were  lately  exhibited  in  the  Ehrich  Galleries 
in  New  York.  These  cassone  panels  are  probably  comparatively 
late  products  of  the  Sellajo  bottega;  they  reveal  some  influence 
from  Piero  di  Cosimo.  Another  group  of  Jacopo  del  Sellajo’s 
cassones  is  more  directly  connected  with  the  Botticelli  school; 


[ 132  ] 


OGTJE  OF  TT1E  JAB: VES  COLLECTION 

•cter.  s{  Acvron  discovers,  by' his  reflection  in  a pool  of 
ange  I'Uat  has  taken  place;  he  purs  his  hand  on  the  stag  nose 
change  is  real.  Some  y.rayh  >■  are  matching  him.  In  the 
. ■ seems  to  lament  his  Ikte  th  large  grayhounds  are 

.wards  him.  FinaSj  m m tkeiwm  trying  in  yam  t mmpe  the 
leh  are  already  biting  hid  eg*  "he  iam'scape  is  coms -;wd  or.  a 
.ground  and  an  extensive.  vkw  over  Uk  see  in  the  background,  bnh 
■ divided  into  two  parts  by  a rangt  oi  f*  tstio  r reks  <md  some  sh  .iDbJ' 
The  background  has  a light  bluish  tint,  the  foreground  is  brown! 
dark  green  trees.  A.cfleon  has  a pink  mantle,  .tie  boys  in  the  mic. 
auce  are  in  green  and  red,  the  hounds  brown,  black  and  white. 

Wood.  H.  22  in.  W.  46  in. 

Old  Catalogue  No.  82.  “Piero  di  Cosimo.” 

Tliis  picture  l front  to  a c9.ss  .wag  or 

in  some  other  piece  of  furniture  and,  a»  ■ ■ * readi  - • evidently 

&ti?  ihution 
to  !/<•■■  mm?: 


o 

X 


4 for 


; Hit 


o 

o o 

> > 


lant  representing  Diana  e ad  A*'&eon.  'I  ho  vt::. 

| , by  ).;.c  r<*  • r ■ ; g ■’ 

x f * be  painter.  Other  characteristic  < 

| and  the  rocks,  which  reappear  in  g 

paintings.  Sellajo  was  evidently 

11  i.i  existence  b large  lumber  of 

such  d&orative  p*  s style.  Yj  a mention, 

for  comparison  wit h tin?  present  one,  tne  cassone  vyi  a the  story 
of  Amor  and  Psyche  in  Fitzwilliam  Museum,  CsA, bridge,  and 
others  representing  the  Orpheus  myth  i r ? flections  of 

Count  Lanckoronski  and  von  spitz  in  Tic  nr/a  / These  are 
stylistically  closely  connected  with  the  present  one:  nv  > more 
of  the  same  group  were  lately  exhibit',  d in  the  Jy  ch  Galleries 
in  Hew  York.  These  cassone  panels  are  prohal  y comparatively 
late  products  of  the  Sellajo  bottega;  they  rev  al  some  influence 
from  Piero  di  Cosimo.  Another  group  of  J eopo  del  Sellajo  s 
cassones  is  more  directly  connected  with  tl  Botticelli  school; 

r 132  ] 


JACOPO  DEL  SELLAJO 


they  are  probably  somewhat  earlier.  Good  examples  of  these 
are  found  in  the  museum  in  Berlin,  in  the  Uffizi,  and  in  the 
Museo  Bandini  in  Fiesole.  The  eclectic  and  versatile  spirit  of 
Sellajo  is  evident  in  the  cassones  as  in  his  other  paintings. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (“Fairly  char- 
acteristic of  Piero  di  Cosimo.  ”) 

Reproduced  in  Burlington  Magazine,  December,  1906. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 


49.  CREATION  OF  ADAM  AND  EYE 

The  picture  is  divided  in  halves  by  a palm  tree  in  the  middle  foreground, 
but  the  hilly  landscape  which  forms  the  scene  is  continuous.  In  the  left  part 
God  the  Father  is  walking  towards  Adam,  stretching  out  His  hand  to  raise  the 
man  who  is  reclining  against  a tree.  To  the  right,  God  the  Father  appears 
again,  this  time  commanding  Eve  to  rise  out  of  the  side  of  Adam,  who  is 
sleeping  on  the  ground.  On  both  sides  are  open  vistas  over  a hilly  country, 
and  water  winding  between  the  hills. 

The  painting  has  not  been  finished ; the  larger  part  is  only  laid  out  in  an 
underpainting  of  brownish  and  bluish  tempera.  The  background  has  been 
partly  painted  over  with  bluish  oil  color,  and  the  rest  of  the  landscape  is 
brown. 

Tempera  on  canvas.  H.  31  in.  W.  61  in. 

Old  Catalogue  No.  85.  “In  the  manner  of  Lorenzo  di  Credi,  perhaps 
by  some  of  his  scholars.” 


This  picture  gets  a special  interest  from  the  fact  that  it 
gives  us  a glimpse  of  the  technical  methods  of  the  old  masters. 
Sellajo ’s  style  is  very  evident  in  the  figures,  which  are  drawn 
and  modelled  with  great  care  and  distinguished  by  that  doll- 
like  nicety  and  unreality  which  are  so  characteristic  of  the 
painter’s  later  creations.  The  picture  is  probably  one  of  his 
latest  works  (perhaps  left  unfinished  at  his  death).  God  the 


[ 133  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


Father  already  shows  a broadness  of  form  which  did  not  become 
manifest  in  Florentine  art  before  the  end  of  the  quattrocento. 
The  predominating  influence  in  this  picture  can  be  traced  both 
to  Ghirlandajo  and  Piero  di  Cosimo ; but  as  the  painting  is  unfin- 
ished, the  stylistic  character  appears  as  a whole  less  marked 
than  in  the  rest  of  Sella  jo’s  works  in  the  same  collection. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.) 


[ 134  ] 


; 


4-9.  Creation  of  Adam  and  Eve 


CATALOGUE  OF  THE  JARYEB  COLLECTION 

Father  already  shows  a broadness  of  form  which  did  not  become 
manifest  in  Florentine  art  before-  be  end  of  the  quattrocento. 
The  predominating  influence  in  this  picture  can  be  traced  both 
to  Ghirlandajo  and  Piero  di  Cosimo ; but  as  the  painting  is  unfin- 
ished, the  stylistic  character  appears  as  a whole  less  marked 
than  in  the  rest  of  Sella  jo’s  works  in  the  same  collection. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Sellajo.j 


> 


> 

o c 


o 


c 


O =“■ 


[134  ] 


PUPIL  OF  SANDRO  BOTTICELLI 


This  anonymous  master  can  be  distinguished  among  the  great 
number  of  Botticelli’s  followers  by  marked  individual  mannerism. 
He  evidently  worked  in  Botticelli’s  studio  towards  the  end  of  the 
XV  century,  imitating  the  latest  phase  of  the  master’s  style.  He  is 
a man  of  little  invention,  but  he  has  a remarkable  instinct  for  the 
rhythmical  value  of  long  unbroken  lines.  His  creations  have  enough 
refinement  to  be  generally  confused  with  those  of  the  master  himself. 
Characteristic  examples  of  his  works  are  the  Pieta  in  the  Poldi- 
Pezzoli  Museum,  Milan;  the  standing  Virgin  with  the  Infant  who 
embraces  Saint  John  in  Galleria  Pitti,  Florence;  and  Madonnas  in 
the  gallery  at  Turin  and  in  the  academy  at  Vienna.  His  main 
activity  seems  to  have  belonged  to  the  last  two  decades  of  the  XV 
century. 

50.  MADONNA  OF  THE  POMEGRANATE 

The  Virgin  stands  full  face  and  is  shown  to  the  knees.  She  is  holding 
the  naked  Child  in  a standing  position  in  front  of  her.  He  is  turned  towards 
the  left,  gazing  upwards,  and  opening  a pomegranate  with  both  hands. 
Behind  the  Virgin  extends  an  open  landscape  of  very  high  mediaeval  towers 
and  churches  with  some  water  in  the  front.  A few  brown  trees  are  scattered 
on  the  shore.  The  Virgin  wears  a greenish  blue  mantle  over  a carmine  red 
undergarment.  Her  long  chestnut  hair  falls  in  waves  over  her  shoulders,  and 
is  partly  covered  by  a light,  transparent  veil.  The  head  stands  out  against  a 
light  blue  sky,  its  contours  outlined  in  black. 

Wood.  H.  33  in.  W.  22  in. 

Old  Catalogue  No.  74.  “Sandro  Botticelli.” 

This  picture  was  freed  from  a heavy  coat  of  oil  painting 
in  1915;  on  removing  this,  the  original  light  tempera  paint- 

[ 135  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


ing  was  found  mostly  in  good  condition,  only  the  Madonna’s 
hands  and  the  Child’s  leg  adjoining  were  badly  scratched  and 
had  to  he  restored.  Through  this  cleaning  process  the  picture 
regained  its  original  brownish  blue  color  harmony. 

The  closest  stylistic  affinities  to  this  picture  are  afforded 
by  a Madonna  in  the  Pinacoteca  at  Turin  (ascribed  to  Botti- 
celli). These  two  Madomias  are  practically  variations  of  the 
same  composition,  showing  only  slight  differences  in  the  treat- 
ment of  the  landscape  and  in  the  position  of  the  Child.  The 
buildings  in  the  background  have  in  both  pictures  a character 
reminding  us  of  northern  Gothic  structures.  The  Virgins  are 
tall,  sinuous  and  sentimental,  with  an  exceedingly  elongated 
type,  broad  nose,  dreamy  eyes  and  a sensuous  mouth;  their 
hands  are  well  formed,  like  models  used  for  glove  stretch- 
ing; their  mantles  fall  in  long  parallel  folds,  accentuating  the 
sinuosity  of  the  figure.  The  same  characteristics  are  found 
perhaps  still  more  marked  in  some  other  pictures,  as,  for 
example,  the  Madoima  with  Saint  John,  in  the  Pitti  Gallery. 
In  all  these  the  mannerism  of  Botticelli’s  late  years  is  exag- 
gerated to  the  point  of  making  jointed  puppets  of  the  Virgins 
and  saints,  and  geometrical  forms  of  the  garments.  They  seem 
overburdened  with  the  weight  of  their  emotions. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (School  of 
Botticelli.) 


[ 136  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


mg  was  found  mostly  in  good  condition,  only  the  Madonna’s 
hands  and  the  Child’s  leg  adjoining  w re  badly  scratched  and 
had  to  be  restored.  Through  this  <*B  t j r > - ss  the  picture 
regained  its  original  brownish  blue  colm 

The  closest  stylistic  affinities  to  this  mcr;  1 d 

by  a Madonna  in  the  Pinacoteca  at  Turin  (ascribed  ■ Botti- 
celli). These  two  Madonnas  are  practically  variations  - 
same  composition,  showing  only  slight  differences  in  the  too 
ment  of  the  landscape  and  in  the  position  of  the  Child,  \ 
buildings  in  the  background  have  in  both  pictures  a charm  r 
reminding  us  of  northern  Gothic  structures.  The  Virgins  are 
tall,  sinuous  and  sentimental,  with  an  exceedingly  elongated 
type,  broad  nose,  dreamy  eyes  and  a sensuous  mouth;  their 
hands  are  well  formed,  like  models  used  for  hove  stretch--- 
ing ; their  mantles  fall  in  long  parallel  folds,  accentuating  the 
sinuosity  of  the.  figure.  The  same  characteristics  arc  found, 
perhaps  still  more  marked  in  some  ot&er  pvt  mm  ^ -u 
example,  the  Madonna  with  Saint  John,  in  the  Pith  Gaik-ty.. 

„•••;  mannerism  of  Botticelli’s  late  years  is  exag- 
gera  >int  of  making  jointed  puppets  of  the  Virgins 

and  saints,  and  geometrical  forms  of  the  garments.  They  seem 
overburdened  with  the  weight  of  their  emotions. 

Rankin  in  American  Journal  of  Archaeology , Ve  5,  15,  -"bool  of 
Botticelli.) 


[ 136  ] 

lJjaOITTo8  ohcivtaS  io  .IMU1! 

■j-j  fio Kigstrioa  aril  lo  BfinobfiM  .06. 


PSEUDO-VERROCCHIO 


A well-known  artistic  personality  whose  name  is  yet  to  be  dis- 
covered. He  is  usually  called  “Pseudo-Verroccliio”  because  he 
imitates  Verrocchio  so  successfully  that  his  works  often  have  been 
mistaken  for  those  of  the  master.  He  evidently  worked  in  Verroc- 
chio’s studio  from  the  end  of  the  sixties,  and  was  thus  a fellow-pupil 
with  Leonardo  da  Vinci,  Botticini,  Lorenzo  di  Credi,  and  “the 
Master  of  the  Oriental  Sash,”  but  his  individuality  is  perhaps  less 
marked  than  any  of  these  painters,  or  at  least  he  follows  the  teacher 
more  closely  than  the  other  young  students.  Many  of  his  works 
seem  actually  executed  on  drawings  by  Verrocchio.  His  best-known 
works  are  the  Madonnas  in  the  galleries  in  Berlin,  Frankfort  and 
London,  and  a winning  little  picture  of  Tobit  with  the  Angel,  also 
in  the  London  National  Gallery;  but  besides  these  there  are  Ma- 
donnas by  him  in  private  collections,  and  at  least  two  drawings  in 
the  Uffizi.  His  main  activity  belonged  to  the  period  between  1470 
and  1490,  and  his  marked  mannerism  of  style  has  made  him  recog- 
nized by  several  art  historians  who  usually  call  him  Pseudo-Verroc- 
chio  (see  for  instance  Venturi,  Storia  dell’Arte,  vol.  VII,  p.  785). 


51.  THE  CRUCIFIXION 

The  figure  of  Christ,  who  is  hanging  on  a low  Cross,  is  a strongly  built, 
broad  and  powerful  nude,  seen  straight  from  the  front.  On  either  side  of 
the  Cross  stand  the  Virgin  and  Saint  John.  The  former  is  resting  her  head 
in  her  hand,  the  latter  is  looking  upwards  with  clasped  hands.  Behind  these 
side  figures  are  steep  hills,  and  between  the  hills  opens  a view  over  a fortified 
city  surrounded  by  water.  Further  on  in  the  background  mountain  tops 
stand  out  in  sharp  silhouette  against  the  light  grayish  blue  sky.  The  painting 
has  suffered  in  cleaning  and  the  upper  part  (especially  the  body  of  Christ) 


[ 137  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


has  been  restored;  the  color-effect  has  thus  become  more  subdued  and  duller 
than  it  originally  was,  but  the  drawing  of  the  figures  is  still  full  of  character. 

Wood.  H.  21%  in.  W.  1514  in. 

Old  Catalogue  No.  56.  “Andrea  Mantegna.” 

In  spite  of  the  far  from  satisfactory  preservation  of  this 
picture,  its  figures  appeal  to  us  by  their  plastic  qualities.  They 
are  more  like  sculptures  than  painted  images.  The  draping 
of  the  Virgin’s  mantle  and  that  of  Saint  John  is  especially 
noteworthy,  there  is  an  excessive  accumulation  of  sharply 
creased  folds;  they  give  us  almost  the  impression  of  being 
executed  in  plaster  or  bronze.  The  coloring  has  no  value  of 
its  own,  it  simply  serves  to  fill  out  the  drawing,  and  is  now 
seriously  damaged.  The  short  triangular  faces  with  broad 
foreheads  are  also  characteristic,  and  more  especially  so  the 
turned-up  noses  and  curved  lips.  Finally  we  draw  attention 
to  the  disjointed  and  very  prominent  great  toes  on  Saint  John’s 
feet.  All  these  features  are  just  as  evident  in  the  different 
figures  in  the  Madonna  pictures  in  Berlin,  Frankfort  and 
London  mentioned  above.  The  Madonna,  No.  108,  in  the  Berlin 
Gallery  is  particularly  closely  related  to  our  picture.  The 
master  can  hardly  he  mistaken  after  his  peculiarities  once  have 
been  recognized.  In  the  present  picture  he  comes  remarkably 
close  to  Verrocchio,  especially  in  the  figure  of  Saint  John, 
which  is  a free  imitation  of  Verrocchio’s  Saint  Thomas  on  the 
facade  of  Or  San  Michele.  The  picture  gains  also  a special 
interest  from  the  fact  that,  besides  the  little  Tobit  with  the 
Angel  in  the  National  Gallery,  it  is,  to  our  knowledge,  the  only 
one  with  full  length  figures  by  this  somewhat  monotonous  and 
not  overintelligent  Madonna  painter. 


[ 138  ] 


PsEUDO-\  ERROCCHIO 


•51.  The  Crucifixion 


CATALOGUE  OP  THE  JARVES  COLLECTION 


has  been  restored;  the  color-effect  has  thus  become  more  subdued  and  duller 
than  it  originally  was,  but  the  drawing  of  the  figures  is  still  full  of  character. 

Wood.  H.  21%  in.  W.  15%  in. 

Old  Catalogue  No.  56.  “Andrea  Mantegna.” 

In  spite  of  the  far  from  satisfactory  preset:  of  this 

picture,  its  figures  appeal  to  us  by  their  plastic  qualities.  They 
are  more  like  sculptures  than  painted  images.  The  draping 
of  the  Virgin’s  mantle  and  that  of  Saint  John  is  esprOaUy 
noteworthy,  there  is  an  excessive  accumulation  of  si,.  . 
creased  folds;  they  give  us  almost  the  impression  of  being 
executed  in  plaster  or  bronze.  The  coloring  has  no  value  of 
its  own,  it  simply  serves  to  fill  out  the  drawing,  and  is  now 
seriously  damaged.  The  short  triangular  faces  with  broad 
foreheads  are  also  characteristic,  and  more  especially  so  the 
turned-up  noses  and  curved  lips.  Finally  we  draw  attention 
to  the  disjointed  and  very  prominent  great  toes  on  Saint  John’s 
feet.  All  these  features  are  just  as  evident  in  the  different 
figures  in  the  Madonna  pictures  in  Berlin,  Frankfort  and 
London  mentioned  above.  The  Madonna,  No.  108,  in  the  Berlin 
Gallery  is  particularly  closely  related  to  our  picture.  The 
master  can  hardly  be  mistaken  after  his  peculiarities  once  have 
been  recognized.  In  the  present  picture  he  comes  remarkably 
close  to  Verrocchio,'  especially  in  the  figure  of  Saint  John, 
which  is  a free  imitation  of  Verrocchio’s  Saint  Thomas  on  the 
fagade  of  Or  San  Michele.  The  picture  gains  also  a special 
interest  from  the  fact  that,  besides  the  little  7 ^ vvoi,  the 
Angel  in  the  National  Gallery,  it  is,  to  our  Knowledge,  the  only 
one  with  full  length  figures  by  this  somewhat  monotonous  and 
not  overintelligent  Madonna  painter. 


[ 138  ] 


oiH'JDOHflaV-oauasff 
noixftiomO  s>rlT  .It 


DOMENICO  GHIRLAND A J O 


Domenico  di  Tommaso  Curradi  di  Doffo  Bigordi  was  born  in 
Florence  in  1449  and  died  in  1494.  He  received  his  first  training  in 
the  workshop  of  his  father,  who  was  a goldsmith.  Why  he  got  the 
name  of  a “Garlandmaker”  is  not  known,  but  we  presume  that  it 
was  caused  by  his  skill  in  some  ornamental  specialty;  it  clung  to 
him  for  his  whole  life  and  also  to  his  descendants.  Ghirlandajo’s 
pictorial  style  was  formed  under  the  influences  of  Baldovinetti  and 
Verrocchio,  though  his  genius  really  was  more  independent  than 
most  painters  of  that  time.  He  developed  slowly,  but  his  earliest 
known  works,  the  frescoes  in  San  Gimignano  and  those  in  Ognis- 
santi  in  Florence  (1480),  reveal  him  as  already  a leading  master  of 
monumental  decoration.  He  is  closely  related  to  the  Masaccio  tradi- 
tion, but  more  of  a genre  painter  than  his  great  predecessor.  He 
introduces  portraits  and  costumes  of  his  patrons  in  the  frescoes  he 
paints  for  them  in  the  churches  of  Florence,  thus  giving  the  large 
compositions  a strongly  marked  illustrative  interest,  besides  their 
decorative  beauty.  Ghirlandajo’s  frescoes  in  the  choir  of  Santa 
Maria  Novella  have  become  especially  popular  because  of  the  many 
portraits  of  the  Tornabuoni  and  Tornaquinci  families  which  they 
contain. 


52.  PORTRAIT  OF  A LADY 

Head  and  shoulders  only ; turned  in  half  profile  towards  the  right.  The 
curling  hair  falls  down  on  both  shoulders;  the  head  is  covered  with  a white 
cap.  The  bodice  is  yellow  and  a green  mantle  hangs  over  the  further  shoulder. 
The  background  is  black. 

Painted  al  fresco  on  a tile.  H.  20y2  in.  W.  15  in. 

Old  Catalogue  No.  73.  “Domenico  Ghirlandajo.” 


[ 139  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


This  fresco  is  now  little  more  than  a ruin ; the  plaster  prep- 
aration has  partly  flaked  off  and  the  missing  parts  have  been 
coarsely  repainted.  In  fact,  the  whole  face  is  covered  with 
repainting;  only  the  bust  remains  comparatively  pure,  and 
here  we  distinguish  the  broad  and  powerful  brush  of  Ghir- 
landajo. The  way  the  tresses  of  the  hair  and  the  garment  are 
painted  is  masterly ; it  is  pure  fresco  and  every  stroke  is  vital. 
One  is  rather  tempted  to  suppose  that  this  head  was  done  as  a 
preparatory  sketch  for  some  of  the  frescoes  in  Santa  Maria 
Novella,  because  the  same  head,  or  one  strikingly  like  it,  recurs 
in  the  representation  of  the  Visitation.  It  may  well  be  a por- 
trait of  some  member  or  relative  of  the  Tornabuoni  family. 
In  spite  of  its  present  poor  condition  it  preserves  still  a strik- 
ingly individual  character  in  a highly  monumental  form.  It 
is  the  only  portrait  by  Ghirlandajo  executed  al  fresco  that  we 
know  outside  of  his  large  church  decorations. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Dom. 
Ghirlandajo.) 


[ 140  ] 


Domenico  Ghirlandajo 


52. 


Lady 


i 


Portrait  of  a 


CATALOGUE  OF  THE  JABVES  COLLECTION 

This  fresco  is  now  little  more  than  a ruin;  the  plaster  prep- 
ax a Lon  has  partly  flaked  oft  and  the  missing  parts  have  been 
coarsely  repainted.  In  fact,  the  whole  face  is  covered  with 
lepainting;  only  the  bust  v trains  comparatively  pure,  and 
here  we  distinguish  the  broau  m4  powerful  brush  of  GMt* 
landajo.  The  way  the  tresses  ;i  , • . . ,, 

painted  is  masterly;  it  is  pure  fi  v 

One  is  rather  tempted  to  suppose  that  this  u.nn  = - a 

preparatory  sketch  for  some  of  the  frescoes  in  bank:  Maria 
Novella,  because  the  same  head,  or  one  strikingly  like  it,  :r,  -urs 
in  the  representation  of  the  Visitation.  It  may  well  be  a por- 
trait of  some  men  her  or  relative  of  the  Tornabuoni  family. 
In  spite  of  O'  poor  condition  it  preserves  still  a strik- 


ingly in 
is  the 
know  . 


: ' ":-  r in  a highly  monumental  form..  It 

odL  ■<)  ■: ■ {> ! f |iaf  we 


I WO  1 


TjbjsJ  b lo  JiBii-ioS  .£& 


BARTOLOMMEO  DI  GIOVANNI 


He  was  a pupil  and  assistant  of  Domenico  Ghirlandajo,  active 
during  the  last  quarter  of  the  XV  and  the  beginning  of  the  XVI 
century.  His  name  was  discovered  in  documents  relating  to  Ghir- 
landajo’s  picture,  the  Adoration  of  the  Magi,  in  the  Innocenti  Hospi- 
tal in  Florence,  for  which  Bartolommeo  in  1488  executed  a predella, 
and  he  also  assisted  in  the  background  scenes  in  the  main  panel. 
.Starting  from  this  predella,  it  is  easy  to  recognize  Bartolommeo’s 
style  in  a number  of  pictures  in  the  Florentine  Academy,  in  the 
Louvre  and  in  several  private  collections,  because  his  mannerism  is 
very  marked;  the  forms  of  the  figures  are  almost  swollen  in  their 
excessive  rotundity,  the  draping  is  puffy  and  heavy.  (Cf.  B.  Ber- 
enson’s  article  on  “Alunno  di  Domenico”  in  Burlington  Magazine, 
1903,  I.) 

53.  SAINT  JEROME  DOING  PENANCE 

The  saint  is  kneeling  in  a rocky  landscape  before  a crucifix,  beating  a 
stone  against  his  breast.  At  bis  side  is  the  lion,  holding  a book  half  open 
between  his  paws.  In  the  distance  we  see  the  young  Saint  John  meeting  the 
Christ  Child,  and  still  further  back,  the  cell  of  the  hermit.  The  landscape  is 
formed  by  stalactite-like  rocks  on  which  a few  trees  are  scattered.  The 
mantle  which  is  draped  around  the  loins  of  the  saint  is  blue,  the  rest  of  the 
picture  maintains  green  and  brownish  tones.  The  preservation  is  good. 

Wood.  H.  33%  in.  W.  21%  in. 

Old  Catalogue  No.  47.  “Andrea  del  Castagno.” 

This  same  motive  has  been  treated  several  times  by  the 
artist.  We  find  it,  for  instance,  in  pictures  now  in  the  Academy 
and  in  San  Marco  in  Florence ; a third  one  is  in  the  collection  of 
Barone  Chiaramonte-Bordonaro  in  Palermo.  The  variations 


[ 141  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


lie  more  in  the  treatment  of  the  landscape  than  in  the  figure 
itself.  The  saint  is  always  of  a rather  athletic  build,  with  big 
muscles  on  his  arms,  and  enormous  hands ; he  is  weaker  in  the 
present  picture  than  in  any  of  the  others.  The  artistic  quality 
of  Bartolommeo  di  Giovanni’s  works  is  generally  in  inverse 
proportion  to  their  size.  The  best  results  are  reached  in  small 
pictures,  like  predella  pieces  or  cassone  fronts,  where  the  fig- 
ures are  given  on  a very  small  scale.  The  rotundity  of  the  forms 
and  the  puffy  muscles  are  here  less  displeasing.  The  color- 
scheme  in  his  works  shows  generally  a combination  of  blue, 
brownish  and  grayish  tones. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Alunno  di 
Domenico.) 


[ 142  ] 


Bartolommeo  di  Giovanni 
53.  Saint  Jerome  Doing  Penance 


CATALOGUE  OF  THE  JARVES  COLLECTION 

A,  more  in  the  treatment  of  the  landscape  than  in  the  A- 
itself.  The  saint  is  always  of  a rather  athletic  bnild,  with  l ig 
muscles  on  his  arms,  and  enormous  hands;  he  is  v» ker  in  •. 
present  picture  than  in  any  of  the  others.  The  artistic  quality 
of  Bartolommeo  di  Giovanni’s  works  is  § iy  hi  inverse 
proportion  to  their  size.  The  best  results  are  0 

pictures,  like  predella  pieces  or  cassone  fronts, 
ures  are  given  on  a very  small  scale.  The  rotundity  of  the  farm 
and  the  puffy  muscles  are  here  less  displeasing, 
scheme  in  his  works  shows  generally  a combination  of 
brownish  and  grayish  tones. 

Ber  nson.  Florentine  Painters  of  the  Kenaissanee,  III  ed.  (Alnnno  di 

Domenico.) 


\ 


[ 142  ] 


IMWAVOlO  IO  03MM0J0THA8 


aonBnsa  gnioG  accioisl*  JnifiS 


LORENZO  DI  CREDI 


This  painter  was  born  in  Florence,  in  1456,  and  became  at  an 
early  age  an  apprentice  in  Andrea  del  Verrocchio’s  studio.  He  not 
only  remained  here  until  the  death  of  the  master  (1488)  but  also 
continued  after  that  time  in  the  same  workshop,  completing  some 
of  the  master’s  unfinished  works.  Lorenzo’s  fame  as  an  artist 
depends,  indeed,  more  on  the  share  he  took  in  the  paintings  and 
sculptures  executed  under  Verrocchio’s  guidance  in  the  master’s 
studio,  where  also  Leonardo  da  Vinci,  Botticini,  Perugino  and  other 
noted  artists  worked  for  some  time,  than  on  his  later  individual 
creations.  As  years  passed  Lorenzo  became  more  and  more  of  an 
industrial  workman,  repeating  the  same  composition  and  the  same 
figures  over  and  over  again,  without  regard  to  nature.  Though  he 
outlived  both  Leonardo  and  Raphael,  he  remained  a faithful  crafts- 
man of  the  quattrocento,  entirely  untouched  by  the  new  ideals  of  the 
High  Renaissance.  Lorenzo  died  in  1537. 

54.  CHRIST  ON  THE  CROSS 

Saint  Mary  Magdalen  kneels  at  the  foot  of  the  Cross.  Christ  is  of 
rather  heavy  build,  and  the  body  is  most  carefully  rounded,  as  if  turned  in 
wood.  The  woman  at  the  foot  of  the  Cross  has  also  a broad,  rounded  form; 
she  wears  a carmine  mantle  over  a grayish  violet  garment.  The  wide  land- 
scape which  fills  the  background  is  a conventionalized  view,  of  the  same 
cold  and  lifeless  type  as  in  most  of  Credi’s  later  works.  The  trees,  which  are 
scattered  over  the  bluish  green  hills,  seem  to  be  made  of  paper;  the  town  at 
the  foot  of  the  hill — Jerusalem — is  a little  toy-place.  To  the  right  we  see 
the  open  tomb  of  Christ,  hewn  out  of  the  rock,  and  Mary  Magdalen  kneeling 
before  the  entrance. 

Wood.  H.  12 y8  in.  W.  8%  in. 

Old  Catalogue  No.  84.  ‘ ‘ Lorenzo  di  Credi.  ” The  picture  is  said  to  come 
“from  a chapel  in  the  Borghese  ( ?)  Palace  at  Florence.” 


[ 143  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


There  can  be  little  doubt  as  to  the  authenticity  of  this  pic- 
ture, though  it  does  not  show  Credi’s  art  from  a favorable  side. 
The  figures  have  already  taken  on  an  air  of  clumsiness  which  is 
rather  far  removed  from  the  energetic  structure  usually  em- 
phasized in  the  creations  of  Verrocchio’s  bottega.  The  kneel- 
ing woman  is  exactly  the  same  figure  as  the  angel  Gabriel,  in 
the  later  of  Lorenzo  di  Credi’s  two  Annunciation  pictures  in 
the  Uffizi  (photo  Alinari,  540) ; and  the  Christ  has  its  closest 
counterpart  in  a Crucifixion  by  Lorenzo  in  the  University 
Gallery  at  Gottingen.  Both  these  pictures  are  late,  and  the 
present  panel  is  probably  still  later.  It  gives  us  an  impression 
of  the  artist’s  declining  strength  and  lack  of  creative  imagina- 
tion, rather  than  of  the  winning  character  and  perfected  craft 
which  may  be  seen  in  his  earlier  works. 


[ 144  ] 


FOLLOWER  OF  LORENZO  DI  CREDI 


A well-known  artistic  personality  active  at  the  end  of  the  XV 
century,  whose  name  however  has  not  yet  been  found.  Morelli 
used  to  call  him  “Tommaso,”  identifying  him  with  a certain  Tom- 
maso  di  Stefano,  mentioned  by  Vasari  among  Credi’s  pupils  (cf.  Die 
Gallerien  Borghese  und  Doria-Panfili  in  Rom,  p.  115),  but  if  Vasari 
is  right  about  the  painter’s  age  (born  1494)  this  identification  is 
hardly  convincing.  The  style  of  this  individual  is,  however,  easily 
recognizable  in  a number  of  pictures  in  the  Uffizi,  Pitti  and  Borghese 
galleries,  and  in  several  private  collections,  most  of  them  represent- 
ing the  Virgin  kneeling  in  adoration  before  the  puffy  Child,  some- 
times accompanied  by  an  angel.  The  painter  is  a less  skilled  crafts- 
man than  Credi,  but  scarcely  inferior  to  him  in  other  respects. 

55.  THE  BAPTISM  OF  CHRIST 

Both  Christ  and  Saint  John  are  standing  in  the  river  Jordan ; the 
former  is  small  and  puppet-like  in  comparison  with  the  Baptist.  To  the  left, 
on  the  bank  of  the  river,  two  angels  are  kneeling,  holding  the  garments  of 
Christ.  The  landscape  is  formed  by  an  open  view  over  the  river  valley ; some 
trees  are  scattered  on  the  banks,  and  further  on  steep  cliffs  are  built  up  in 
steps.  The  angels  have  orange  and  red  robes,  the  landscape  is  dark  in  the 
foreground  and  light  blue  towards  the  background. 

Wood.  Cleaned  and  restored  1915.  II.  25%  in.  W.  4544  in- 

Old  Catalogue  No.  66.  “Attributed  to  Verrocchio.” 

The  composition  of  this  picture  recalls  Verrocchio’s  well- 
known  large  representation  of  the  Baptism  of  Christ  in  which 
the  young  Leonardo  da  Vinci  collaborated. 

On  a closer  study  one  finds,  however,  important  differences, 
besides  the  complete  alteration  of  the  proportions  of  the  panel. 


[ 145  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


The  composition  of  the  present  picture  is  not,  indeed,  copied 
directly  from  Verrocchio’s  famous  Baptism,  but  from  the  free 
translation  of  it  which  was  made  by  Lorenzo  di  Credi  and  is  still 
in  the  church  of  San  Domenico  below  Fiesole.  In  comparison 
with  Verrocchio’s  original,  Lorenzo’s  interpretation  of  the  same 
motive  looks  rather  empty  and  conventional;  the  figures  have 
become  limper  and  stouter,  the  contours  have  lost  much  of  their 
elasticity;  bearing  and  expression  are  more  sentimental,  and 
the  originally  most  imaginative  background  has  been  replaced 
by  a conventional  studio  landscape.  All  these  changes  have 
been  taken  up  by  our  artist.  If  he  has  seen  Verrocchio’s 
Baptism  (which  he  hardly  could  have  avoided)  he  nevertheless 
has  preferred  Lorenzo  di  Credi ’s.  Lorenzo  also  changed  some- 
what the  position  of  the  two  angels  on  the  left  bank  of  the  river, 
and  added  a third  behind  them.  Our  artist  followed  Lorenzo 
in  regard  to  the  position  of  the  two  principal  angels,  but  left  out 
the  third  one.  In  the  landscape  he  introduced  slight  changes, 
caused  by  the  alteration  of  the  proportions  of  the  picture.  The 
main  parts  of  this  picture  are,  however,  faithfully  copied  from 
Lorenzo  di  Credi. 

The  individual  character  of  the  painter  is  recognizable 
principally  in  the  types,  in  the  folds  of  the  garments,  and  in  the 
form  of  the  cliffs.  The  types  are  more  conventional  and  less 
plastic  than  Lorenzo  di  Credi ’s;  the  folds  are  like  grooves  made 
with  some  instrument  in  wood,  and  between  them  are  sharp 
creases ; the  cliffs  have  overhanging  tops  forming  large  beaks. 
The  details  of  the  landscape  are,  as  a whole,  less  sharply  out- 
lined than  is  usual  in  Lorenzo  di  Credi ’s  pictures. 

These  characteristics  are  perfectly  evident  in  all  the  above- 
mentioned  Nativity  pictures  by  the  Credi  pupil  who  used  to  be 
called  Tonmiaso.  His  creations  are,  indeed,  very  uniform;  the 
same  conventionalism  of  types  and  landscape  recurs  in  them 


[ 146  ] 


Follower  of  Lorenzo  di  Credi 


CATALOGUE  OF  I HE  JABVES  COLLECTION 

The  compos?  thu  ■ iiic  present,  picture,  is  not,  indeed,  copied 
directly  fi  Verrocchio's  famous  Baptism,  but  from  the  free 
translation  <.  f it  which  was  made  by  Lo rcnzo  di  Credi  and  is  still  „ 
in  the  - kureh  of  San  Domenico  below  Fh  v>U*.  In  comparison 
wv  } ■ ; rrocchio ’s  original,  Lorenzo  "s  in : v r . tat  ■ ■ n of  f ' • same 

: votive  looks  rather  empty  and  conventional ; the  figures  have 
become  limper  and  stouter,  the  contours  have  lost  m uch  of  thei  r 
elasticity;  bearing  and  expression  are  more  sentimental,  and 
the  originally  most  imaginative  background  has  been  replaced 
by  a conventional  studio  landscape.  All  these  changes  have 
been  taken  up  by  our  artist.  If  he  has  seen  Verrocchio’s 
Baptism  (win  h he  hardly  could  have  avoided)  he  nevertheless 
«has  preferred  Lort  im  d ■ ii’s.  Lorenzo  also  changed  some- 
jj.  Iwhat  the  positic  i 7 1 e I eft  bank  of  the  river, 

g sand  added  a third  behind 
o |in  regard  to  the  pos ' i < 

| 5 *e  third  one.  In  the  lands*  ■ - 

-Q  ® 

ca  7 alteration  of  the  proportions  oi  the  pic 

% l his  picture  are,  however,  faithfully  copied  from 

I - o di  Credi. 

3 The  individual  character  of  t he  painter  is  recognizable 
principally  in  the  types,  in  the  folds  of  the  garments,  and  in  the 
form  of  the  cliffs.  The  types  are  more  conventional  and  less 
plastic  than  Lorenzo  di  Credi ’s ; the  -folds  ■ * ’ irr<v eves  mane 

with  some  instrument  in  wood,  an:  ";?,arp 

creases;  the  cliffs  have  overhanging  tops  forming  hog- 
The  details  of  the  landscape  are,  as  a whole,  less  sharply  out- 
lined than  is  usual  in  Lorenzo  di  Credi ’s  pictures. 

These  characteristics  are  perfectly  evident  in  all  the  above- 
mentioned  Nativity  pictures  by  the  Credi  pupil  who  used  to  be 
called  Tommaso.  His  creations  are,  indeed,  very  uniform ; the 
same  conventionalism  of  types  and  landscape  recurs  in  them 


[ 146  ] 


w 5^r‘ 

W 'TOM 

•*•>#?.  'aewMB 

Sr  | ” 

vM®y* 

\.*l 

AiFi 

V' 

■Hhfk'JI 

•raa«ji 

/ V*  , 

‘ '•fFE? 

FOLLOWER  OF  LORENZO  DI  CREDI 


all.  As  a particularly  characteristic  figure  of  his  may  be  in- 
stanced the  angel,  who  is  turned  more  towards  the  front;  this 
figure  is  rather  different  from  the  corresponding  one  in  Credi ’s 
picture.  It  shows  more  of  the  painter’s  individual  mannerism 
in  position  and  type,  and  recurs  with  little  or  no  difference  in 
some  of  “Maestro  Tommaso’s”  tondi. 


[ 147  ] 


FILIPPINO  LIPPI 


This  painter  was  born  in  1457,  the  son  of  Fra  Filippo  Lippi  and 
Lucretia  Buti,  then  a nun  of  Prato.  He  remained  with  his  father 
until  1472,  when  he  passed  into  the  studio  of  Botticelli.  Filippino’s 
first  important  work  was  the  altar  picture  for  the  Badia  in  Florence, 
representing  the  Vision  of  Saint  Bernard,  ordered  in  1480.  In 
1489-1493  Filippino  worked  in  Rome,  and  lost,  under  the  overwhelm- 
ing influence  of  the  antique  world,  much  of  the  tender  feeling  and 
restraint  of  form  which  are  characteristic  of  his  early  works.  His 
compositions  became  more  and  more  crowded  with  ornamental 
antique  motives  and  fluttering  draperies;  and  at  the  same  time  the 
drawing  of  the  figures  became  looser.  His  latest  works  are  done 
with  a flowing  ease  almost  reminding  us  of  baroque  painting.  When 
Filippino  died  in  1504  he  had  outlived  himself  as  an  artist. 


56.  CHRIST  ON  THE  CROSS 

He  is  hanging  low  down  from  the  carved  arms,  His  head  drooping 
towards  the  right  shoulder.  A white  cloth  is  draped  around  the  loins.  The 
flesh  of  the  figure  is  grayish  green ; the  background  is  black.  The  panel  has 
been  trimmed  on  all  sides  and  has  suffered  from  careless  treatment. 

Wood.  H.  13  in.  W.  9y2  in. 

Old  Catalogue  No.  81.  ‘ ‘ Filippino  Lippi.  ’ ’ 

This  little  picture  is  a late  work  by  Filippino,  exhibiting 
more  of  his  mannerism  than  of  his  refinement.  Other  similar 
representations  of  the  same  motive  by  Filippino  are  in  the  col- 
lections of  Herbert  P.  Horne  in  Florence  and  E.  Miller  von 
Aicholz  in  Vienna.  They  are  all  hypersentimental  in  concep- 

[ 149  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


tion  and  slack  in  drawing,  representing  the  piagnoni  spirit  of 
the  late  quattrocento  art  in  Florence. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Filippino.) 
Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Filippino.) 


[ 150  ] 


Filippino  Lippi 


56.  Christ  on  the  Cross 


CATALOGUE  OF  THE  JARVES  COLLEC1  ' 


tion  and  slack  in  drawing,  representing  the  piagnoni  spin!  . 
the  late  quattrocento  art  in  Florence. 

Rankin  in  American  Journal  of  t nA  a ■■■■■■■..  : f ¥ s \ ■ i ■ > . . 1 
Berenson,  Florentine  Pan.  • :r  ■■  • 


[ 150  ] 

is4iJ  owraiJil 


880-tO  aril  no  JghriO  .96 


SIENESE  SCHOOL 


STEFANO  DI  GIOVANNI,  CALLED  SASSETTA 

Sassetta  was  born  in  1392.  He  was  probably  a pupil  of  Bartolo 
di  Maestro  Fredi  and  later  influenced  by  Andrea  Vanni  and  Paolo  di 
Giovanni  Fei.  The  evolution  of  his  artistic  style  was,  however,  still 
more  advanced  by  his  study  of  the  classic  Sienese  masters  from  the 
beginning  of  the  trecento.  In  several  of  his  compositions  he  freely 
adopts  designs  by  Simone  or  the  Lorenzetti.  Sassetta  furnished  in 
1427  a drawing  for  the  font  in  the  baptistery  in  Siena.  In  1430-1432 
he  painted  an  altarpiece  for  the  chapel  of  San  Bonifazio  in  the 
cathedral.  In  1437  he  signed  the  contract  for  the  execution  of  a 
large  ancona  for  San  Francesco  in  Borgo  San  Sepolcro,  a work 
which  was  not,  however,  finished  until  1444.  Parts  of  this  picture, 
representing  scenes  from  the  life  of  Saint  Francis,  are  now  scattered 
in  different  private  collections  in  France  and  Italy.  Sassetta  died  in 
1450,  from  a cold  he  had  caught  while  working  on  a fresco  on  the 
Porta  Romana  in  Siena. 


57.  SAINT  ANTHONY  TEMPTED  BY  THE  DEVIL  IN 
THE  SHAPE  OF  A WOMAN 

The  holy  hermit  is  just  returning  to  his  lonely  cell  in  the  wilderness, 
when  he  sees  a young  woman  standing  on  the  road  gazing  on  him.  He  makes 
a gesture  of  surprise  and  turns  half  around  to  look  at  the  woman.  The  wilder- 
ness is  a hilly  landscape  in  light  gray  tone  closed  in  by  a thick  wall  of  green 
trees;  the  sky  has  an  orange  glow,  as  from  the  setting  sun.  Black  birds  are 
floating  in  the  air.  The  cell  of  the  hermit  stands  out  cinnobar  red  against  the 
gray  hill.  Saint  Anthony  wears  a frock  of  a dark  gray  and  the  young  woman 


[ 151  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


has  a light  pink  gown.  The  colors  are  pure  and  luminous ; the  flesh  tints  have 
a transparent  quality. 

Wood.  H.  141/2  in.  W.  15%  in. 

Old  Catalogue  No.  48.  ‘ ‘ Sassetta.  ’ ’ 

The  picture  shows  the  master  at  his  very  best.  The  con- 
ception is  strangely  imaginative ; it  conveys  the  mystical  touch 
of  the  legend  and  something  of  the  soul-life  of  the  hermit  in 
the  wilderness.  The  tall  figures,  with  lithe  forms  and  small 
round  heads,  are  most  characteristic  of  Sassetta ; and  so  is  the 
wonderfully  refined  technique,  operating  with  transparent 
glazes  and  subtle  gradations  of  clear  and  pure  tones.  It  seems 
most  likely  that  the  picture  formed  part  of  some  larger  altar- 
piece  depicting  different  scenes  from  the  life  of  Saint  Anthony  ; 
the  following  number  might  have  been  another  part  of  the  same 
ancona. 

Rankin  in  American  Journal  of  Archceology,  1895,  I.  (Sassetta.) 

Berenson  in  Burlington  Magazine,  November,  1903.  (Sassetta.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Sassetta.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  Y,  p.  170. 

58.  SAINT  ANTHONY  TORMENTED  BY  DEMONS 

The  old  hermit,  in  a monk ’s  frock  of  gray,  has  been  thrown  to  the  ground 
by  the  two  devils,  who  are  beating  him  with  long  sticks.  A third  devil  comes 
floating  through  the  air  with  a serpent  in  his  hands,  and  a fourth  comes, 
further  off,  with  some  other  instrument  of  torture.  The  devils  have  gray 
and  black  hairy  bodies,  horns  on  their  heads,  bat’s  wings  and  bird’s  feet. 
The  landscape  shows  us  a large  hill,  on  the  top  of  which  is  a little  church 
surrounded  by  dark  green  trees.  The  general  color-scheme  is  a subdued 
harmony  of  gray,  brown  and  green.  The  lower  part  of  the  picture  has  been 
damaged. 

Wood.  H.  18%  in.  W.  13%  in. 

Old  Catalogue  No.  53.  “Unknown  painter,  Sienese  XV  century.” 


[ 152  1 


Stefa  no  di  Giovanni,  Called  Sassetta 
57.  Saint  Anthony  Tempted  by  the  Devil  in  the  Shape  of  a Woman 


CATALOGUE  OF  THE  JAK'V'ER  LOUdG UC 

has  a light  pink  gown.  The  colors  are  pure  and  luminous  j the  ft*  t,mn  m 

a transparent  quality. 

Wood.  H.  1414  in.  W.  15%  in. 

Old  Catalogue  No.  48.  “Sas?  < 

The  picture  shows  the  master  at  hh 
eeption  is  strangely  imaginative ; it  convey 
of  the  legend  and  something  of  the  soul-life  o;  an 
the  wilderness.  The  tall  figures,  with  lithe  forms  a i 
lound  heads,  are  most  characteristic  of  Sassetta;  and  so  is 
Wonderfully  refined  technique,  operating  with  transpan 
ilazes  and  subtl  dations  of  clear  and  pure  tones.  It  seems 


fnc|t  likely  that 

file  depicting  dii 

J I 1 :k  ' 1 "r  % m 

f % 

UJ  1 1 


=.  5 

‘■4*  S'  - c rvt 

> 


— ^ 

l | Burlington  Magazine,  November,  1903.  (Sassetta.) 

y | : is  in  Kassegna  d’Arte  Senese,  1905,  II.  (Sassetta.) 

I S Crowe  and  Cavaieaselle,  History,  ed.  Borenius,  vol.  V,  p.  I ™ 

G 

S 

ligi  SAINT  ANTHONY  TORMENTED  BY  DEMONS 

S The  old  hermit,  in  a monk’s  frock  of  gray,  has  been  thrown  to  t ' 

%y  the  two  devils,  who  are  beating  him  with  long  s 
SBoating  through  the  air  with  a serpent  in  his 

further  off,  with  some  other  ^ 8jl.  bird  s feet, 

and  hlaek  hairy  bod.es,  horns  on  to  ta  A jjj  is  a little  church 
The  landscape  shows  us  a large  hill,  ■ , 

Grounded  by  dark  green  trees.  The  general  color-scheme  is  a subdued 

Talmony  of  gray,  brown  and  green.  The  lower  part  of  the  p.etnre  has  been 
damaged. 

Wood.  H.  18%  in.  W.  13%  in.  „ 

Old  Catalogue  No.  53.  “Unknown  painter,  Sienese  XV  century. 


[ 152  ] 


STEFANO  DI  GIOVANNI,  CALLED  SASSETTA 


The  description  of  Sassetta’s  pictorial  style  and  of  his 
figures  in  the  previous  picture  fits  this  one  just  as  well,  though 
the  motive  is  here  less  attractive  and  leaves  little  room  for 
poetical  charm.  The  rather  crude  and  cruel  scene  does  not  bring 
out  the  finer  qualities  of  the  painter’s  imaginative  genius,  but 
the  technique  and  craftsmanship  are  just  as  refined  as  in  any 
other  work  by  him.  His  grace  of  line  is  well  shown  even  in  the 
devils.  The  delicately  modelled  hands  and  the  broad  face  of 
the  hermit  also  bear  evidence  of  the  master’s  brush.  The  most 
suggestive  part  of  the  whole  picture  is  the  hilly  landscape,  with 
the  distant  trees  and  little  church  in  silhouette  against  the 
blue  sky.  It  gives  us  some  hint  of  the  poetical  conception  under- 
lying Sassetta’s  creations. 

Another  little  picture  by  Sassetta  in  the  Siena  Gallery,  also 
representing  Saint  Anthony  tormented  by  demons,  though  with 
a different  composition,  has  been  indicated  as  a part  of  the  same 
altarpiece  as  the  two  pictures  described  above.  This  hypothesis 
must,  however,  be  discarded  as  untenable  for  two  reasons: 
first,  the  measurements  of  the  picture  do  not  justify  it;  and 
second,  it  repeats  the  motive  of  the  present  panel.  It  is  natural 
to  suppose  that  the  two  pictures  of  the  Jarves  collection  were 
always  coupled  together  and  that  once  they  formed  parts  of 
some  altarpiece  with  several  other  illustrations  of  the  legend 
of  Saint  Anthony.  A third  picture,  of  approximately  the  same 
size,  which  probably  belonged  to  the  same  ancona,  is  in  the 
collection  of  Prince  Ourousoff  in  Vienna.  The  picture  was  re- 
produced in  “ Osterreichische  Kunstschatze,  ” 1911,  edited  by 
W.  Suida,  and  rightly  attributed  to  Sassetta  by  Mary  Logan 
Berenson  in  Basse  gna  d’Arte,  1911,  p.  202.  It  represents  Saint 
Anthony  standing  in  a barren  landscape  looking  at  some  object 
on  the  ground  which  is  now  destroyed  but  probably  was  a 


[ 153  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


devil.  The  composition  corresponds  closely  to  the  one  described 
above — Saint  Anthony  tormented  by  demons — the  figure  is 
placed,  in  the  same  way  as  there,  in  the  lower  right  hand  corner, 
and  the  landscape  rises  as  a hilly  slope  strewn  with  some  dry 
trees.  These  two  panels  must  have  been  direct  counterparts  in 
the  ancona  to  which  they  originally  belonged. 

Berenson  in  Burlington  Magazine,  November,  1903.  (Sassetta.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Sassetta.) 

Mary  Logan  Berenson  in  Rassegna  d’Arte,  December,  1911. 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  170. 


[ 154  ] 


CATALOGUE  OE  THE  JARVES  COLLECTION 

devil.  The  composition  corresponds  closely  to  the  one  o - r 1 
above — Saint  Anthony  tormented  by  demons— the  figure 
placed,  in  the  same  way  as  there,  in  the  ight  hand  eon 

and  the  landscape  rises  as  a hilly  slope  strewn  w -mej 
trees.  These  two  panels  must  have  been  dU 
• ancona  to  which  they  originally  belonged 

Berenson  in  Burlington  Magazine,  November,  1903.  (Saasetta.) 
Perkins  in  Bassegna  d'Arte  Senese,  1905,  II.  (Sassetta.) 

Mary  Logan  Berenson  in  Bassegna  d’Arte,  December,  1911. 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  “0. 


ATT388A8  a5UJA^54lI«pAVOlO  ia  OMA.33t3 
gnomsQ  vd  bsJnymioT  vnorfjnA  Jnrfi3  .86 


l 


xst 


j rv 


BF.jfe  rj*  jl>.- 

/ A 

BtfiHifi 

iwm 

|Pk\ 

9 •'-  \. 

' t v I atoP^^xT 

GIOVANNI  DI  PAOLO 


Giovanni  di  Paolo  was  born  in  Siena  about  1403,  and  had  be- 
come a well-known  painter  as  early  as  1423.  He  probably  studied 
under  Paolo  di  Giovanni  Fei,  but  gradually  became  an  imitator  of 
Sassetta.  In  1428  we  find  Giovanni  enrolled  in  the  Guild  of  Saint 
Luke  at  Siena.  He  died  in  1482. 

Giovanni  di  Paolo  produced  a large  number  of  paintings  during 
his  long  life;  most  of  those  preserved  are  now  in  Siena,  but  there 
are  at  least  fifteen  pictures  by  him  in  American  collections.  He 
often  interests  us  through  the  spirited  way  in  which  he  refashions 
the  illustrations  of  the  traditional  Biblical  and  legendary  motives, 
but  he  is  uneven  and  whimsical. 


59.  SAINT  CATHERINE  OF  SIENA  PLEADING  BE- 
FORE POPE  GREGORY  XI. 

According  to  the  story,  Saint  Catherine  went  to  Avignon  to  plead  the 
cause  of  the  Florentines  with  the  Pope.  She  was  unable  to  bring  about  a 
complete  reconciliation,  and  convinced  that  the  Pontiff’s  absence  from  Italy 
had  much  to  do  with  the  dissensions  by  which  the  whole  country  was  torn, 
she  resolved  to  endeavor  to  persuade  him  to  return.  She  went  once  more  to 
Avignon,  made  her  way  into  the  consistory,  and,  flinging  herself  at  the  feet 
of  the  Pope,  pleaded  with  him  with  such  intense  earnestness  that,  weak  and 
vacillating  though  he  was,  he  granted  all  she  asked,  the  cardinals  looking  on 
in  astonishment  at  the  extraordinary  scene.  (Cf.  The  Saints  in  Christian 
Art,  by  Mrs.  Bell,  vol.  Ill,  p.  324.) 

The  picture  shows  a room  in  the  papal  palace  with  a table  spread.  Saint 
Catherine  in  her  gray  gown  is  kneeling  on  the  floor  ardently  addressing  the 
Pope,  who  stands  before  her  lifting  his  hands  in  excitement.  A servant  is 
holding  up  the  train  of  his  mantle,  and  two  cardinals,  who  are  talking  to  each 
other,  seem  rather  troubled  by  this  unexpected  appearance.  They  wear  red 

[ 155  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


mantles  and  hats ; the  servant  is  in  blue ; the  walls  of  the  room  are  gray  and 
yellow. 

Wood.  H.  8 y2  in.  W.  12  in. 

Old  Catalogue  No.  51.  “Giovanni  di  Paolo.” 

The  painter’s  style  is  so  obvious  to  any  one  who  knows 
other  works  by  him  that  the  attribution  scarcely  needs  any  com- 
ment. Giovanni’s  pointed  types,  with  the  long,  sharp  noses 
and  the  small  hands  with  thin  spreading  fingers,  are  particularly 
characteristic.  The  picture  belongs  in  quality  to  the  best  class 
of  Giovanni’s  works.  Judging  from  its  size  and  proportions 
one  is  led  to  the  assumption  that  it  originally  formed  part  of  a 
predella. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Giov.  di  Paolo.) 

Berenson,  Central  Italian  Painters,  II  ed.  (Giov.  di  Paolo.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  178. 

Breek  in  Art  in  America,  1914. 


[ 156  ] 


Giovanni  di  Paolo 

Saint  Catherine  of  Siena  Pleading  Before  Pope  Gregory  XI 


CA  ;;  s T.jOGXJE  OP  THE  JARVES  COLLECTION 

te  and  tats;  the  servant  is  in  blue;  the  walls  of  the  room  are  gray  and 

eUow. 

Wood.  H.  8i/2  in.  W.  12  in. 

Old  Catalogue  No.  51.  “Giovanni  di  Paolo.” 


who  tat 


5 f,\::  w. 


N 


X 

ac 


The  painter’s  style  is  so  obvious  to  a»y  ' 
other  works  by  Mm  that  the  attribution  scarrc?  ■ 
ment.  Giovanni’s  pointed  types,  with  the  Mo 
and  the  small  hands  with  thin  spreading  fingers,  are 
characteristic.  The  picture  belongs  in  quality  to  the  vc.-m  ■ ■ v- 
of  Giovanni’s  works.  Judging  from  its  size  and  proportions 
ooe  is  led  to  the  assumption  that  it  originally  formed  part  of  a 

predella. 

■o  w vt,  rfArte  Senes*.  1905,  II.  (Giov.  di  Paolo.) 

Berenson,  Central  Italian  Painters,  II  ed.  vGsov.  <h  » 

Crowe  and  Cavalcaselle,  History,  ed.  Boreniua,  voi  V,  p.  17b. 

Breek  in  Art  in  America,  1914. 


= > 

•J>  < 

S3  2 


*0 


[ 156  ] 


SANO  DI  PIETRO 


Sano’s  full  name  was  Sano  di  Pietro  di  Menico.  He  was  born 
at  Siena  in  1406,  and  became  in  early  years  a pupil  of  Taddeo  di 
Bartolo.  Later  on  he  was  much  influenced  by  Sassetta,  though  his 
rather  narrow  talent  did  not  allow  him  to  grasp  the  poetical  refine- 
ment of  this  master.  Sano  kept,  however,  a prominent  place  in  the 
contemporaneous  art  of  his  native  town,  and  was  on  several  occa- 
sions entrusted  with  official  commissions;  in  1428  he  furnished  a 
model  for  the  baptismal  font  in  San  Giovanni  in  Siena.  He  was  a 
very  prolific  painter;  but  few  of  his  works  rise  above  the  level  of 
toylike  prettiness,  or  reveal  any  emotions  other  than  a meek  and 
monotonous  piety.  Sano  died  in  1481. 


60.  CORONATION  OP  THE  VIRGIN 

Christ  and  the  Virgin  are  sitting  turned  towards  each  other  on  a broad, 
richly  gilded  throne  draped  with  a red  brocade  cover.  Christ  is  placing  the 
crown  on  the  Virgin’s  head.  He  wears  a light  blue  mantle  and  she  a white 
one,  sown  with  gold  ornaments.  Above  them  floats  the  dove  of  the  Holy 
Spirit  and  a choir  of  adoring  angels,  some  of  them  with  musical  instruments. 
On  either  side  of  the  throne  are  eight  saints,  arranged  in  vertical  rows  of 
two  and  two;  in  the  foreground  kneel  Saint  Francis  and  San  Bernardino  of 
Siena  and  two  music-making  angels.  The  floor  is  covered  with  an  Oriental 
rug,  and  between  the  angels  stands  a vase  with  flowers.  The  garments  of  the 
floating  angels  are  pink,  yellow  and  red;  the  large  gold  halos  of  all  the 
figures  give  a rich  lustre  to  the  bright  and  luminous  color-effect. 

Wood.  H.  2 6y2  in.  W.  20%  in. 

Old  Catalogue  No.  50.  “Sano  di  Pietro.” 

The  composition  of  this  picture  recalls  in  its  main  parts 
Sano’s  other  larger  representations  of  the  same  subject  in  the 


[ 157  ] 


CATALOGUE  OF  THE  JARYES  COLLECTION 

Academy  and  the  Palazzo  Publico  in  Siena  and  at  Gualdo 
Tadino ; Christ  and  the  Yirgin  and  the  two  music-making  angels 
before  the  throne  are  practically  the  same  in  these  pictures. 
The  saints,  which  are  added  in  the  Jarves  picture,  are  the  same 
as  in  scores  of  Sano’s  pictures  in  the  Siena  Academy.  The 
round  types  with  the  high  eyebrows  and  small,  weak  mouths  are 
thoroughly  characteristic  of  the  master.  The  charm  of  the 
picture  depends  chiefly  on  its  gay  and  decorative  colors,  height- 
ened with  luminous  gold.  It  is  a pious  hymn  to  the  Yirgin,  the 
protectress  of  Siena. 

Rankin  in  American  Journal  of  ArcJmology,  1895,  I.  (Sano.) 

Berenson,  Central  Italian  Painters,  I ed.  (Sano.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Sano.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  174. 


61.  THE  ADORATION  OF  THE  MAGI 

A long  predella  originally  belonging  to  some  altarpiece.  The  story 
begins  at  the  extreme  left,  where  a heavenly  messenger  announces  to  the  three 
kings  and  some  shepherds  the  Nativity  of  Christ.  Next  we  see  the  three 
kings  on  their  way  to  Bethlehem,  appearing  on  horseback  from  behind  a hill. 
A huntsman  with  his  hounds  is  walking  the  same  road  in  front  of  them.  The 
central  part  of  the  picture  is  entirely  filled  with  a large  mountain  cave,  in 
front  of  which  the  Adoration  is  taking  place.  The  Virgin  is  seated  on  a 
saddle  on  the  ground ; Joseph  stands  behind  her  in  prayer,  and  before  her  the 
three  kings  kneel,  while  spearmen  and  squires  hold  the  horses.  Further  to 
the  right  we  can  follow  the  homeward  journey  of  the  kings;  they  are  riding 
between  undulating  hills,  followed  by  some  spearmen  and  a loaded  camel. 
The  huntsman  is  returning  from  the  wood  without  noticing  the  stags  that 
are  hiding  behind  the  trees.  Peace  reigns  on  earth. 

The  cities  of  Bethlehem  and  Jerusalem  appear  in  the  background,  on 
either  side  of  the  central  hill  with  the  cave.  The  picture  is  closed  in  by 
pilasters  on  which  some  men  in  white  frocks,  two  of  them  holding  large 
crosses,  are  kneeling.  They  seem  to  be  members  of  a ‘ ‘ Confraternita  di  Santa 


[ 158  ] 


Sano  di  Pietro 
60.  Coronation  of  the  Virgin 


CATALOGUE  OF  THE  JARVES  COLLECTION 

Academy  and  the  Palazzo  Publico  in  Siena  and  at  Gualdo 
Tafiino ; Christ  and  the  Virgin  and  the  two  music-making  angels 
before  the  throne  are  practically  the  same  in  these  pictures. 
The  saints,  which  are  added  in  the  Jarves  picture,  are  the  mrm 
as  in  scores  of  Sano’s  pictures  in  the  Siena  Academy, 
round  types  with  the  high  eyebrows  and  small,  weak  month* 
thoroughly  characteristic  of  the  master..  The  charm  of  w 
picture  depends  chiefly  on  its  gay  and  decorative  < 
ened  with  luminous  gold.  It  is  a pious  hymn  to  the  V irg  o.  he 

protectress  of  Siena. 

Rankin  in  American  Journal  of  Archaeology,  1895,  I.  (Sano.) 

ian  Painters,  I ed.  (Sano.) 

Perkins  in  Bassegna  d’ArU  Senese,  1905,  TL  (Sano.) 

Crowe  and  Cavakaaelie,  History,  ed.  Bomtms,  vol.  V,  p.  174. 


61.  THE  ADORATION  OF' THE  MAGI 

long  predeHa  originally  belonging  to  some  altarpiece.  Ike 
begins  at.  the  extreme  left,  where  a heavenly  messenger  announces  to  the  three 
kings  , and  some  shepherds  the  Nativity  of  Christ.  Neat  we  see  the  three 
vs  on  their  way  to  Bethlehem,  appearing  on  horseback  from  behind  a hi  . 
A huntsman  with  his  hounds  is  walking  the  same  road  in  front  of  them.  The 
central  part  of  the  picture  is  entirely  filled  with  a large  mountain  cave,  in 
front  of  which  the  Adoration  is  taking  place.  The  Virgin  is  seated  on  l 
saddle  on  the  ground;  Joseph  stands  behind  her  in  prayer,  and  before  her  the 
three  kings  kneel,  while  spearmen  and  squires  hold  the  horses.  Jurther  to 
the  right  we  can  follow  the  homeward  jt umey  of  the  kings:  they  are  riding 
between  undulating  hills,  followed  by  some  spearmen  and  a loaded  came 
The  huntsman  is  returning  from  the  wood  without  noticing  the  stags  that 

are  hiding  behind  the  trees.  Peace  reigns  on  earth.  _ 

The  cities  of  Bethlehem  and  Jerusalem  appear  in  the  background,  on 
either  side  of  the  central  hill  with  the  cave.  The  picture  is  closed  in  by 
piasters  on  which  some  men  in  white  frocks,  two  of  them  holdmg  large 
crosses,  are  kneeling.  They  seem  to  be  members  of  a “ Confratermta  d.  Santa 


ofrrldB  ip  ovi 

nr'BiiV  9fil  to  noilJsnoToO 


.Oft 


SANO  DI  PIETRO 


Croce,”  a brotherhood  existing  in  most  Italian  cities  of  that  time,  which 
probably  ordered  the  altarpiece  of  which  this  predella  has  been  a part. 

The  general  color-scheme  is  light  and  pleasant,  almost  reminding  us  of 
miniature  paintings.  The  Virgin  wears  a blue,  Joseph  a crimson  mantle,  the 
kings  are  in  red,  blue  and  green,  their  retainers  in  green,  yellow,  pink  and 
blue;  the  most  prominent  horse  is  white.  The  hilly  landscape  has  a grayish 
brown  tone  against  which  the  trees  stand  out  dark  green;  the  sky  is  blue. 

Wood.  H.  8%  in.  W.  70  in. 

Old  Catalogue  No.  49.  “Sano  di  Pietro.” 

This  picture  must  be  counted  among  Sano’s  more  attractive 
creations.  The  figures  are  perfectly  characteristic,  with  types 
corresponding  to  the  description  under  the  previous  number, 
but  being  so  small  they  make  a less  empty  and  monotonous  im- 
pression than  in  Sano’s  larger  works.  The  composition  is 
unusually  free  and  broad ; the  landscape  with  the  huntsmen  and 
their  hounds  has  a charm  of  its  own.  The  whole  gives  in  a most 
pleasant  form  that  mixture  of  naive  naturalism  and  legendary 
poetry  which  is  so  characteristic  of  the  whole  Sienese  quattro- 
cento art. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Sano.) 

Berenson,  Central  Italian  Painters,  II  ed.  (Sano.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  174. 


62.  THE  MARTYRDOM  OF  A BISHOP 

He  kneels  in  the  foreground  with  clasped  hands,  and  the  executioner 
raises  his  sword.  A guard  of  four  soldiers  and  an  officer  stand  to  the  left,  and 
a fifth  soldier  to  the  right  of  the  executioner.  The  soldiers  wear  helmets  and 
carry  large  cinnobar  red  shields  decorated  with  scorpions.  The  bishop  has  a 
pink  mantle,  the  executioner  a blue  coat.  A bare  grayish  landscape  makes  a 
sharp  silhouette  against  the  blue  sky. 

Wood.  H.  7%  in.  W.  15%  in. 

Old  Catalogue  No.  52.  “Attributed  to  Giovanni  di  Paolo.” 


[ 159  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


This  little  picture  is  evidently  a fragment  of  a predella. 
It  has  been  somewhat  maltreated,  the  faces  of  the  soldiers  are 
scratched  and  restored,  but  the  bishop’s  face  still  shows  Sano’s 
characteristic  type.  The  drawing  of  the  executioner  and  the 
general  color-scheme  give  us  additional  reason  for  the  attribu- 
tion of  this  picture  to  Sano  or  a very  close  follower. 

Perkins  in  Rassegna  d’Arte  Senese,  1915,  II.  (Pellegrino  di  Mariano.) 

Berenson,  Central  Italian  Painters,  II  ed.  (Giovanni  di  Paolo.) 

Breck  in  Art  in  America,  1914.  (Giovanni  di  Paolo.) 


[ 160  ] 


NEROCCIO 


The  full  name  of  this  painter  was  Neroccio  di  Bartolommeo  di 
Benedetto  Landi.  He  was  one  of  the  leading  men  in  Siena,  both  in 
sculpture  and  painting,  during  the  latter  part  of  the  quattrocento. 
Born  in  1447,  he  soon  became  a pupil  of  Lorenzo  Vecchietta  and  was 
later  influenced  by  Francesco  di  Giorgio.  He  married  twice,  and  by 
his  second  marriage  (1493)  he  had,  among  other  children,  a son  who 
also  became  a painter.  Neroccio  died  in  1500.  The  Academy  in 
Siena  contains  a good  collection  of  Neroccio ’s  paintings,  covering  his 
whole  evolution.  They  are  all  stamped  by  a refinement  of  line  and 
a melodious  charm  unequalled  in  the  works  of  any  other  Sienese 
master  of  the  late  quattrocento. 


63.  THE  ANNUNCIATION 

The  Virgin  is  seated  in  a carved  marble  throne,  set  on  a pavement  made 
of  slabs  of  speckled  dark  stone  in  light  borders.  She  closes  her  book  and 
bows  her  head  towards  the  angel  Gabriel  who  has  rushed  in  and  touches  the 
floor  with  his  knee,  at  the  same  time  raising  his  hand  to  call  the  attention  of 
the  Virgin.  His  message,  “Ave  Gratia  Plena,”  is  written  on  a flowing  ribbon 
he  holds  in  the  other  hand.  Above,  in  the  clouds,  appears  God  the  Father, 
sending  out  the  white  dove  on  gold  rays  towards  the  Virgin.  Behind  the 
throne  of  the  Virgin  we  see  her  low  and  simple  bed  with  a red  coverlet.  The 
pavement  is  enclosed  in  the  background  by  a stone  wall,  decorated  with 
nymphs  and  satyrs  in  relief ; to  the  left  is  a gate,  also  decorated  with  reliefs. 
The  Virgin’s  mantle,  which  probably  was  painted  with  copper  green,  has 
become  almost  black,  her  garment  is  carmine;  the  angel  wears  a pale  pink 
gown  which  flutters  in  the  wind  because  of  the  hurried  movement  of  the  figure. 
The  colors  are  subdued,  gray  and  pink  prevailing,  suggesting  the  same  soft 
lyrical  touch  as  the  gold-haired  maiden  types  and  the  floating  contours. 

[ 161  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Behind  the  back  wall  some  trees  stand  out  against  the  sky,  and  a little  bit  of 
landscape  is  shown  through  a doorway. 

Wood.  Lunette  shaped.  H.  19t4  in.  W.  50%  in. 

Old  Catalogue  No.  65.  “Attributed  to  Piero  Pollajuolo.  ” The  picture  is 
said  to  be  “a  great  display  of  the  author’s  knowledge  of  perspective,  in  his  time 
a newly  invented  art,  and  exciting  great  interest.  ’ ’ 


Tlie  statement  about  the  perspective  strikes  a vital  point 
in  this  picture;  the  space-composition  is  of  fundamental  im- 
portance for  the  good  decorative  effect.  There  are  indeed  few 
Sienese  pictures  where  the  space-composition  is  so  far  devel- 
oped. Some  of  the  paintings  by  Francesco  di  Giorgio  offer  the 
closest  similarities  in  this  respect.  It  is,  however,  evident  that 
this  is  not  a work  by  Francesco  hut  by  Neroccio;  the  dreamy 
faces  and  the  hands,  especially  those  of  the  Virgin,  give  the  clue 
to  the  master,  and  nobody  but  Neroccio  could  be  responsible 
for  the  endlessly  long,  flowing  contours,  and  the  virginal  grace 
of  these  figures.  But  it  is  probably  a comparatively  early  work 
in  which  the  influence  of  Vecchietta  and  Francesco  di  Giorgio 
still  is  quite  evident.  The  picture  is  a little  more  sculpturesque 
than  Neroccio ’s  later  creations. 

Judging  from  its  shape,  it  must  have  been  made  for  some 
definite  place,  either  as  the  crowning  piece  on  some  large  altar 
picture,  or  to  fill  the  space  above  a doorway. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (Master  of  the 
Casa  Buonarotti  predellas.) 

Berenson,  Central  Italian  Painters,  I ed.  (Neroccio.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Neroccio.) 

Jacobsen,  Das  Quattrocento  in  Siena,  pi.  50.  (Neroccio.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  Y,  p.  159. 


[ 162  ] 


63.  The  Annunciation 


CATALOGUE  OF  THE  JAR  YES  COLLECTION 


Behind  the  back  wall  some  trees  stand  out  against  the  sky,  and  a little  bit  of 

landscape  is  shown  through  a doorway. 

Wood.  Lunette  shaped.  H.  19*4  in.  W 50%  in 

Old  Catalogue  No.  65.  “Atr-.i-ueb  !•-  r ■ nc  ’’  The  picture  is 

aid  to  be ‘;a  great  display  of  tL.  ■:>  ; U : ■ ■■'  - ■;  ■■■■  a;  bis  time 

a newly  invented  art,  and  exciting  . ... 

The  statement  about  the  perspective  si  . ... me 

in  tliis  picture;  the  space-composition  m 4 fundament? 
porte-nce  for  the  good  decorative  effect.  There  are  ini*,  ed  vm 
Sienese  pictures  where  the  space-composition  is  so  far  devel- 
oped. Some  of  the  paintings  by  Francesco  di  Giorgio  offer  the 
closest  similarities  in  this  respect.  It  is,  however,  evident  that 
•this  is  not  a work  by  lb  vmvsce  but  by  Neroceio ; the  dreamy 
aces  $hd  the  hands,  especially  those  of  the  Virgin,  give  the  clue 

o 

aster,  and  nobody  but  Neroceio  could  be  responsible 
§ endlessly  long,  flowing  contours,  and  the  virginal  grace 
> | But  it  is  probably  a comparatively  early  work 

h ence  of  Veccbietta  and  Francesco  di  Giorgio 

« evident.  The  picture  is  a little  more  sculpturesque 
th  v ■>  roccio’s  later  creations. 

idging  from  its  shape,  t must  have  been  made  for  some 
.mite  place,  either  as  the  crowning  piece  on  some  large  altar 
picture,  or  to  fill  the  space  above  a doorway. 


Rankin  in  American  Journal  of  Archaeology,  189o,  ’ 

Casa  Bucnarotti  predellas.) 

Berenson,  Central  Italian  Painters,  I ed.  (Neroceio.) 

Perkins  in  Bassegna  d’Arte  Senese,  1905,  II.  (Neroceio.) 
Jacobsen,  Das  Quattrocento  in  Siena,  pi.  50.  (Neroceio.) 
Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  Y,  p.  159. 


[ 162  ] 


BENVENUTO  DI  GIOVANNI 


Benvenuto  di  Giovanni  was  born  at  Siena  in  1436,  and  received 
his  artistic  education  under  the  guidance  of  Vecchietta,  influenced  by 
Francesco  di  Giorgio.  Benvenuto  was  still  alive  in  1517,  but  died 
probably  soon  after.  His  pictures  are  mostly  found  in  Siena,  but  the 
two  earliest,  dated  1466,  are  in  Volterra.  The  stiffness  of  the  figures 
and  the  almost  metallic  treatment  of  the  hair  and  the  garments 
suggest,  in  many  of  Benvenuto’s  pictures,  the  impression  of  a harder 
material  than  mere  paint.  He  is  a master  of  decorative  details  and 
beautiful  patterns,  but  has  little  creative  quality  of  his  own. 


64.  MADONNA  WITH  THE  CHILD  AND  TWO  ANGELS 

The  Virgin  is  standing  behind  a parapet,  which  cuts  off  the  figure  at 
knees.  The  Child  is  sitting  on  a cushion  supported  by  an  angel.  He  reaches 
out  his  hand  to  grasp  the  Virgin’s  rosary.  It  is  a wooden,  entirely  unchild- 
like figure.  Of  the  two  angels  who  are  standing  at  the  side  of  the  Madonna 
the  one  is  holding  a lily,  the  other  a large  branch  of  roses.  The  Virgin  looks 
down  at  the  Child,  pressing  her  left  hand  against  her  bosom  and  holding 
a book  and  a rosary  in  the  right.  Over  her  head  hovers  the  white  dove  of 
the  Holy  Spirit.  The  background  is  formed  by  the  deep  blue  sky.  The  colors 
are  rich  and  mellow.  The  Virgin  wears  a brocade  garment  with  gold  pattern 
on  deep  red,  her  mantle  is  blue;  the  angels  havb  green  and  red  gowns  with 
gold  bands ; their  faces  are  framed  with  long  curly  hair.  The  picture  has  its 
original  tabernacle  frame. 

Wood.  H.  2914  in-  W.  1714  in- 

Old  Catalogue  No.  57.  “Matteo  da  Siena.” 

Benvenuto  di  Giovanni’s  style  is  easily  recognizable  in  this 
lovely  picture,  which  really  shows  the  painter  at  his  very  best. 
The  decorative  beauty  of  the  composition  is  remarkably  pure 


[ 163  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


and  original,  and  the  greatest  care  is  displayed  in  the  treatment 
of  such  details  as  the  brocade  of  the  Virgin’s  garment,  the  large 
flowers,  the  light,  wavy  hair  and  the  embroidered  bands  of  the 
angels.  The  color-effect  is  rich,  suggestive  of  a blooming  rose 
garden.  The  figures  are  far  from  naturalistic,  with  their 
wooden  hands  and  oblique  faces,  but  intensely  expressive  as 
symbols  of  emotion.  The  hieratic  stiffness  of  the  design  seems 
to  reflect  the  reverential  devotion  of  the  creative  mind. 

The  closest  stylistic  correspondences  to  this  picture  are 
offered  by  the  Madonna  and  the  angels  in  Benvenuto’s  large 
altarpiece  in  San  Domenico  in  Siena  (dated  1483) ; the  bambino 
is  also  practically  the  same  figure  in  both  pictures.  The  decora- 
tive effect  of  the  small  picture  is,  however,  much  more  success- 
ful. It  reveals  all  the  merits  of  the  painter’s  style  and  little  of 
the  formal  weaknesses  which  are  so  obvious  in  the  large  and 
stilted  altarpiece. 

Rankin  in  American  Journal  of  Archaeology,  1895,  I.  (Benvenuto.) 

Berenson,  Central  Italian  Painters  of  the  Renaissance,  I ed.  (Ben- 
venuto. ) 

Perkins  in  Rassegna  d’Arte  Senese,  1895,  II.  (Benvenuto.) 

Jacobsen,  Das  Quattrocento  in  Siena,  pi.  43. 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  164. 


[ 164  ] 


\ 


Benvenuto  di  Giovanni 
64.  Madonna  with  the  Child  and  Two  Angels 


CATALOGUE  OP  THE  J.ARVES  COLLECTION 


ongu'  - •->  nd  the  greatest  care  is  displayed,  in  the  treatnu- 
! .1  tails  as  the  brocade  of  the  Virgin’s  garment,  the  large 

the  light,  wavy  hair  and  obroidered  bands  of  the 
angels.  The  color-effect  is  rich,  sag  g itive  of  a blooming  rose 

garden.  The  figures  are  far  f,  ' with  the 

hands  and  oblique  faces,  hut  tensely 
symbols  of  emotion.  The  hieratic  stiffness 
reflect  the  reverential  devotion  of 
The  closest  stylistic  correspondences  to  this  picture 
offered  bv  the  Madonna  and  the  angels  in  Benvenuto’s  large 
altarpiee  i San  Domenico  in  Siena  (dated  1483) ; the  bambino 
is  also  practically  the  same  figure  in  both  pictures.  The  decora- 
tive effect  of  the  smell  picture  is,  however,  much  more  success- 
ful. It  reveals  all  the  mer  the  painter’s  style  and  little  of 
\ 3e  formal  weaknesses  which  are  so  obvious  in  the  large  and 
stilted  altarpieee. 

Bankin  m American  Journal  of  Archm/b-;' 

Beremson,  Central  Italian  Painters  ■~f  v.  ■ - »*>•*  ■■  " - 1 66 * 

venuto.) 

na  d’A>  11  (Benvenuto.; 

Jacobin  Das  Quattroo  . in  Siena,  pi.  43. 

Cn  ; e and  CavaleaseUe  , History,  ed.  Borenius,  vol.  V,  p.  164. 


[ 164  ] 

I 

iiwAvoiO  m oTUKiavwiaa 
2bgnA  07/ T bne  blirfO  orlJ  riiiw  finnobfiM  .M 


GIROLAMO  DI  BENVENUTO 


This  painter  was  born  at  Siena  in  1470,  the  son  of  Benvenuto  di 
Giovanni.  In  1508  he  painted  a large  “Madonna  della  neve”  which 
is  now  in  the  Siena  Gallery.  He  died  before  1524.  Girolamo  was  a 
close  imitator  of  Benvenuto’s  st3de  and  he  evidently  assisted  in  the 
execution  of  several  of  the  pictures  done  in  his  father’s  studio;  it 
is  often  hard  to  draw  the  dividing  line  between  the  works  of  these 
two  painters,  but  generally  speaking,  Girolamo’s  figures  show  a 
tendency  to  become  still  taller,  with  higher  waists  and  smaller  heads, 
than  those  of  his  father,  to  whom  he  is  inferior  both  in  decorative 
beauty  and  in  emotional  expressiveness. 


65.  LOVE  BOUND  BY  MAIDENS 

Amor  is  represented  as  a naked  boy  with  large  pink  bird’s  wings 
spreading  out  from  his  shoulders.  He  is  standing  on  a rock,  while  four  girls 
are  busy  binding  ropes  around  his  arms  and  ankles  and  tearing  his  wings. 
A fifth  girl  has  taken  away  his  bow,  and  his  eyes  have  been  blindfolded.  On 
the  road  which  winds  over  the  flat  landscape  towards  the  background  a young 
man  rides  on  a white  horse,  with  a large  shield  on  his  arm.  The  shield  shows 
the  arms  of  the  Piccolomini  combined  with  those  of  another  family.  Several 
large  black  birds  are  circling  in  the  air;  the  sky  is  greenish  blue,  the  land- 
scape brown.  A dog  is  chasing  a hare  out  on  the  field.  The  girls  have  light 
green,  pink,  white  and  yellow  garments;  the  kneeling  one  is  in  dark  brown. 

The  picture,  which  is  of  polygonal  (24-sided)  form,  is  also  decorated  on 
the  reverse  with  a coat  of  arms, — the  same  as  that  carried  by  the  rider  on 
the  front.  It  has  served  as  a desco  del  parto:  a salver  for  the  presentation 
of  bridal  or  birthday  gifts,  and  was  evidently  made  for  some  festival  occa- 
sion in  the  Piccolomini  family. 

Wood.  Diameter  25^  in. 

Old  Catalogue  No.  71.  “ Pintoriccliio.  ” 

[ 165  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


It  is  with  a certain  amount  of  hesitation  that  we  give  this 
romantic  little  picture  to  Girolamo,  because  it  stands,  both  in 
style  and  in  quality,  very  close  to  the  works  of  his  father.  It 
is  unusually  pure  and  primitive  in  design  for  Girolamo,  but  the 
exaggerated  proportions  of  the  figures,  and  the  very  light  color- 
scheme,  are,  on  the  other  hand,  characteristic  of  his  paintings. 
It  is  evidently  an  early  work  done  in  the  father’s  studio, 
and  has  all  the  charm  of  the  Sienese  quattrocento  art  coupled 
with  a more  unusual  element  of  romantic  love.  The  picture 
takes  us  right  into  the  poetical  world  of  the  Renaissance.  This 
is  probably  also  the  reason  why  it  has  been  more  often  repro- 
duced and  noticed  by  art  historians  than  any  other  picture  in 
this  collection. 

Rankin  in  American  Journal  of  Archceology,  1895,  I.  (Florentine.) 

Revue  de  I’Art  Ancien  et  Moderne,  1899,  p.  417. 

Berenson,  Central  Italian  Painters  of  the  Renaissance,  I ed.  (Ben- 
venuto di  Giovanni.)  II  ed.  (Girolamo  di  Benvenuto.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Girolamo.) 

Rankin  in  Burlington  Magazine,  March,  1908.  (Girolamo.) 

Miintz-Esseling,  Petrarca,  p.  148. 

Jacobsen,  Das  Quattrocento  in  Siena,  pi.  38. 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  p.  166. 


[ 166  ] 


1 


Girolamo  di  Benvenuto 
65.  Love  Bound  by  Maidens 


CATALOGUE  OF  THE  JARVES  COLLECTION 

It  is  with  a certain  amount  of  hesitation  that  we  give  this 
romantic  little  picture  to  Girolamo,  because  it  stands,  both  in 
strIe  and  iB  quality,  very  close  to  the  works  of  his  father.  It 
, '.usually  pure  and  primitive  in  design  for  Girolamo,  but  the 
exaggerated  proportions  of  le-  '’  iv  v,  and  the  very  ligl* f p>r- 

scheme,  are,  on  the  othei  of  his  paint?  i 

It  is  evidently  an  early  work  0 .,e  •:  » • , Pv  •, 

and  has  all  the  charm  of  the  Sienese  quattrocento  art  ' nnled 
a more  unusual  element  of  romantic  lo 
; ! r%dt  into  the  poetical  world  of  the  Renaissance.  This 
hably  also  the  reason  why  it  has  been  more  often  repro- 
duced and  noticed  by  art  historians  than  any  other  picture  in 
this  collection. 

Rankin  i/a  American  Journal  of  Archaeology,  1895,  I.  (Florentine.) 
Revue  VArt  Ancien  et  Moderne,  1899,  p.  417. 

Berensor,  Central  Italian  Painters  of  the  Renaissance,  i ed.  (Ben- 
venuto  di  Giovanni.)  II  ed.  (Girolamo  di  Benvenuto.) 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Girolamo.) 

Rankin  in  Burlington  Magazine,  March.  1908  \ 

Muntz-Esseling,  Petrarca,  p.  148. 

Jacobsen.  Das  Quattrocento  in  Siena,  pL  38. 

Crowe  and  C&v&leaselle,  History,  ed.  Borenius,  p.  166. 


OTUnavnafl  ia  omajohiD 
gnabifiM  redf  bnuoS  9voJ  ,&9 


CENTRAL  ITALIAN  SCHOOLS 


GENTILE  DA  FABRIANO 

Gentile  di  Niccolo  di  Giovanni  Massi  da  Fabriano  was  born 
between  1360  and  1370,  and  studied  painting  under  Alegretto  Nuzi, 
the  best  master  of  his  native  town.  He  visited  Venice  about  1410- 
1412  and  painted  here  in  the  Ducal  Palace.  Between  1414  and  1419 
he  worked  in  Brescia  for  Pandolfo  Malatesta;  thence  he  probably 
went  to  Rome  and  to  his  native  town  of  Fabriano,  but  in  1422  he  was 
in  Florence,  executing  here  his  much  admired  masterpiece,  the 
Adoration  of  the  Magi  (dated  1423).  In  1426  he  was  called  to  Rome 
by  Pope  Martin  V to  paint  in  San  Giovanni  in  Laterano.  He  died 
here  in  the  fall  of  1427.  Gentile’s  frescoes  in  Rome  and  Venice  have 
long  since  been  destroyed. 

Gentile  exercised  a great  influence,  not  only  in  Umbria  and  the 
Marches,  but  also  in  other  places,  like  Venice  and  Florence,  where  he 
was  active  for  some  time.  His  art  combines  legendary  spirit  and 
poetry  with  a certain  degree  of  naturalistic  form.  It  is  highly 
decorative  and  ornamental,  but  shows  at  the  same  time  a marked 
tendency  towards  realization  of  tridimensional  space  and  new  pic- 
torial light  effects. 


66.  MADONNA 

A half-figure  standing  in  a window  full  face.  She  holds  the  Child  in 
front  of  her,  standing  on  a cushion  on  the  sill  of  the  window.  He  is  entirely 
naked  and  smilingly  lifts  His  right  hand  in  the  act  of  benediction.  The  side 
pillars  of  the  window  are  pierced  by  small  Gothic  arches,  through  which 
stems  of  roses  and  pomegranates  wind.  The  Madonna  is  light-haired  and 
blue-eyed;  she  wears  a deep  blue  mantle  with  gold  borders  ornamented  with 


[ 167  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Oriental  characters.  It  is  draped  in  soft,  wavy  folds,  forming,  together  with 
the  winding  stems,  a beautiful  interplay  of  lines.  The  background  is  dark. 
To  the  right,  on  the  window  sill,  is  a cushion  covered  with  gold  brocade. 

Wood.  Cleaned  1915.  H.  35%  in.  W.  24%  in.  The  picture  is  signed  to 
the  left  in  Gothic  minuscules:  GENT.  FABRIANO. 

Old  Catalogue  No.  39.  “Gentile  da  Fabriano.” 

The  following  note  is  added  in  the  catalogue:  “ Crowe  and 
Cavalcaselle  speak  of  this  picture  as  injured  by  restoring! 
When  Mr.  Cavalcaselle  saw  it  in  Florence,  it  was  indeed  entirely 
disfigured  by  repainting ; since  that  time  the  new  paint  has  been 
entirely  removed;  by  great  care  and  unusual  good  fortune  this 
was  done  without  appreciable  injury  to  the  picture  which  is 
thus  left  in  excellent  preservation.  The  recovery  of  so  admir- 
able and  characteristic  a picture  as  this  from  the  bad  state  it 
was  in,  is  one  of  the  triumphs  of  picture  collecting.” 

The  observation  made  by  Cavalcaselle  about  the  preserva- 
tion of  the  picture  was  indeed  more  truthful  than  the  assertions 
of  the  catalogue.  The  picture  is  mentioned  in  the  following 
words  in  the  English  edition  of  Crowe  and  Cavalcaselle  (vol. 
V) : “Of  the  same  period  [as  the  Quaratesi  altarpiece]  no 
doubt  is  a Virgin  supporting  the  Infant  Christ  on  a balustrade 
before  her,  with  remnants  of  Gentile’s  signature  and  curiously 
like  a later  Virgin  by  Jacopo  Bellini  [in  the  Tadini  Collection 
at  Lovere],  all  but  life  size  and  injured  by  restoring,  in  the 
possession  of  Mr.  Jarves.” 

That  the  exaggeration  did  not  lie  on  Cavalcaselle ’s  side  is 
confirmed  by  the  following  statement  by  Mr.  Hammond  Smith, 
made  in  connection  with  his  restoration  of  the  picture  in  July, 
1915:  “This  picture  was  found  to  be  much  repainted  in  oil 
colors.  On  cleaning,  the  Child’s  body  and  head  and  the  Ma- 
donna’s hands  were  found  in  quite  good  condition.  The  blue 


[ 168  ] 


Gentile  da  Fabriano 


66. 


Madonna 


CATALOGUE  OP  THE  JABVES  COLLECTION 

;irtal  characters.  It  is  draped  in  soft,  wavy  folds,  forming,  together  with 
. winding  stems,  a beautiful  interplay  of  lines.  The  background  is  dark, 
he  right,  on  the  window  sill,  is  a cushion  covered  with  gold  brocade. 
Wood.  Cleaned  1915.  H.  3d' d in.  W.  24 Y.  a.  The  picture  is  signed  to 

loft  in.  Gothic  minuscules:  i>  11.  " 5*  kBKiA  N 
Old  Catalogue  No.  39.  “Own.  ,h  <a  Fabri  ow. 


The  following  note  is  added  in  the  catal  ■:  • '“Crewe  and 
Cavaicaselle  speak  of  this  picture  as  injured  m restoring! 
•W  hen  Mr.  Cavaicaselle  saw  it  in  Florence,  it  was  indeed  entirely 
disfigured  'by  repainting ; since  that  time  the  new  paint  has  been 
entirely  removed ; by  great  care  and  unusual  good  fortune  this 
was  done  without  appreciable  injury  to  the  picture  which  is 
thus  left  in  excellent  preservation.  The  recovery  of  so  admir- 
able and  characteristic  a picture  as  this  from  the  bad  state  it 
. . os  in,  is  one  o.<  the  triumphs  of  picture  collecting. 

t;  d.csrrv,  non  made  by  Cavaicaselle  about  the  preserva- 


\ i x i i 

words 

Y)  i * 

doubt 


uieturf 


rue 


was  indeed  more  truthful  than  the  assertions 
v The  picture  is  mentioned  in  the 
>'nrlish  edition  of  Crowe  and  Cavaicaselu  (voi. 

i , , ■>  period  [&s  the  Quaratesi  altarpiece^  no 
■,  ivi  ■:  , i ■ the  Infant  Christ  on  a balustrade 
bef  r m:i\  with  remnants  of  Gentile’s  signature  and  curiously 
like  a later  Virgin  by  Jacopo  Bellini  1 m The  lalmi  Collection 
at  Lovere],  all  but  life  size  and  •storing,  in  the 


possession  of  Mr.  Jarves.” 

That  the  exaggeration  did  not  lie  on  Cavaicaselle ’s  side  is 
confirmed  by  the  following  statement  by  Mr.  Hammond  Smith, 
made  in  connection  with  his  restoration  of  the  picture  m July, 
1915:  1 4 This  picture  was  found  to  be  much  repainted  in  oil 
colors.  On  cleaning,  the  Child’s  body  and  head  and  the  Ma- 
donna’s hands  were  found  in  quite  good  condit  on.  The  blue 


OtfAI 


I 

AG 


ajiTtfaO 


ennobsM  .99 


GENTILE  DA  FABRIANO 


gown  was  much  gone  over,  but  found  damaged  only  by  an  acci- 
dental scratch  on  the  broad  light  fold  on  right  arm.  The  archi- 
tectural framework  around  the  edge  has  been  damaged  in 
several  places  in  removing  the  heads  of  nails  when  the  picture 
was  cradled.  . . . The  Madonna’s  face  was  injured,  as  will  be 
seen  by  noting  the  unevenness  of  the  surface  of  the  eyes  in 
reflected  light.  . . . The  shadows  were  much  worn  but  suffi- 
ciently evident  to  permit  of  stippling  of  the  spots.” 

In  spite  of  all  these  vicissitudes  and  successive  restorations 
the  design  of  the  picture  is  practically  uninjured,  and  since  it 
has  been  freed  from  all  overpainting  it  stands  out  with  renewed 
beauty  and  character.  It  is  a rather  mature  and  late  work  by 
Gentile;  both  the  Virgin  and  the  Child  are  fully  developed 
quattrocento  figures,  far  removed  from  the  medievalism  of 
Alegretto  Nuzi’s  hieratically  stiff  and  thin  saints.  They  stand 
in  regard  to  form  and  line  on  about  the  same  level  as  Masolino’s 
later  works,  though  the  spirit  in  which  they  are  conceived  is 
lighter  and  more  lyrical  than  we  find  in  contemporary  Floren- 
tine masters. 

Gentile  attracts  us  in  the  first  place  as  a poet  and  only  in  the 
second  place  as  an  important  factor  in  the  new  evolution  towards 
naturalistic  representation.  He  was  an  emotional  genius  who 
by  and  by  became  more  interested  in  the  naturalistic  movement 
without  losing  too  much  of  his  original  purely  artistic  qualities. 

Both  the  Virgin  and  the  Child  closely  resemble  the  same 
figures  in  the  Adoration  of  the  Magi  in  the  Academy  in  Flor- 
ence ; and  perhaps  still  more  so  the  central  figures  of  the  Quara- 
tesi  altarpiece,  now  divided  between  the  Uffizi,  the  Vatican 
Gallery  and  the  Royal  Collections  in  England.  The  former 
picture  is  dated  1423,  the  latter  1425,  and  it  seems  most  natural 
to  put  the  Jarves  Madonna  in  between,  or  at  least  to  assign  it  to 
the  same  period;  that  is  to  say,  to  the  time  when  Gentile  was 


[ 169  ] 


CATALOGUE  OF  THE  JAEVES  COLLECTION 


staying  in  Florence.  The  unusual  value  and  rarity  of  this 
picture  becomes  evident  when  we  know  that  there  are  not  more 
than  ten  complete  works  known  by  Gentile. 

Crowe  and  Cavalcaselle,  A New  History  of  Painting  in  Italy,  ed.  1866, 
vol.  Ill,  p.  103. 

Rankin  in  American  Journal  of  Archceology,  1895,  II. 

Berenson,  Central  Italian  Painters,  I ed.  (Gentile.) 

A.  Colasanti,  Gentile  da  Fabriano.  [Bergamo,  1909.] 


[ 170  ] 


FOLLOWER  OF  GENTILE  DA  FABRIANO 


Unknown  artist,  probably  from  the  Marches  but  influenced  by 
Florentine  art,  active  about  1420-1440. 

67.  THE  GARDEN  OF  LOVE 

Cassone  picture,  divided  in  two  main  parts  by  a gateway  in  the  centre. 
The  left  part  is  filled  by  a shady  grove  of  dark  green  laurel  trees.  Youths  and 
maidens  are  dancing  in  the  wood  a hallo  rotondo,  to  the  music  of  two  clarinet 
players  who  are  seated  on  the  branches  of  a tree ; two  couples  standing  at  the 
sides  are  looking  on.  Furthest  to  the  left  is  a round  tent  or  pavilion,  under 
which  three  female  figures  are  seated;  the  one  to  the  right  has  a golden  robe, 
the  one  to  the  left  is  surrounded  by  rays,  and  the  middle  one  has  an  arrow  in 
her  breast.  She  wears  a long  red  robe  of  the  same  kind  as  the  dancing 
damsels.  Before  her,  on  the  step  of  the  pavilion,  kneels  a young  man  in  a 
red  tunic,  also  with  an  arrow  in  his  breast.  The  two  arrows  have  been  shot 
at  the  young  people  by  a little  Cupid  hovering  in  the  air ; the  youth  is  kneeling 
in  supplication  before  the  maiden.  She  seems  to  be  hesitating,  seated  as  she 
is  between  two  different  kinds  of  love  guardians  which  might  be  entitled 
“Amor  Sacro”  and  “Amor  Profano, ’’  or  chaste  love  and  sensual  love. 

In  the  midst  of  the  picture  we  see  the  young  couple  passing  through  a 
doorway;  in  front  of  them  goes  the  lady  in  golden  costume,  and  after  them 
follows  the  other  surrounded  by  the  gold  rays.  The  doorway  leads  to  an 
open  place  where  the  fountain  of  Love  is  situated,  at  the  foot  of  some  wooded 
hills.  Some  mythological  love  stories  are  introduced  to  characterize  the 
place ; thus  we  see,  at  the  side  of  the  gate,  Apollo  chasing  Daphne,  who  is  being 
changed  into  a laurel,  and  higher  up  on  the  hill,  Venus  and  Mars  caught  in 
Vulcan’s  net.  In  the  air  above  the  fountain  Amor  is  seated  on  two  large 
black  birds  (ravens?)  his  feet  resting  on  two  gold  lions  (Amor  conquering 
wisdom  and  strength?).  Around  the  fountain,  which  throws  its  water  to  the 
feet  of  Amor,  several  prominent  men  are  gathered.  Dante,  Petrarch  and 
Boccaccio  approach  together;  behind  them  is  a young  man — possibly  a 


[ 171  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


painter — who  dips  his  hand  in  the  fountain  and  looks  up  through  the  irides- 
cent water  towards  the  god.  On  the  other  side  are  some  other  distinguished 
persons  fascinated  by  the  waters  of  this  marvellous  fountain;  a king  dips 
his  hand  into  it,  a queen  stands  leaning  against  it,  a warrior  clad  in  iron  and 
with  a wreath  on  his  head  stands  with  his  gaze  fixed  on  the  sprinkling  water. 
Behind  him  are  two  fair  ladies,  the  one  playing  a psaltery  or  little  harp. 

The  end  of  the  two  young  people’s  love  story  is  enacted  further  to  the 
right.  They  stand  near  by  each  other;  he  with  hands  crossed  on  his  breast; 
she  pulling  out  the  arrow  from  her  breast  and  returning  to  him  a large  ring. 
She  is  evidently  freeing  herself ; the  woman  with  the  aureole  of  gold  rays 
speaks  to  her,  but  the  other  allegorical  lady  is  turning  away.  Higher  up  on 
the  mountains  the  radiant  guardian  is  driving  with  the  young  bride  in  a 
chariot  drawn  by  two  white  stags  while  the  young  man  with  uplifted  arms 
in  vain  attempts  to  follow  her.  She  has  evidently  finished  her  pilgrimage 
through  the  garden  of  Love,  and  is  following  Chastity  to  a purer  world.  The 
young  man  is  left  behind,  lying  mourning  on  the  ground. 

The  ground  on  which  all  these  graceful  scenes  are  represented  is  covered 
with  flowers;  the  background  is  formed  by  a ridge  of  brown  and  gray  moun- 
tains standing  out  in  sharp  silhouette  against  the  deep  blue  sky. 

Wood.  Cassone  front.  H.  15 1/4  in.  W.  58  in. 

Old  Catalogue  No.  38.  “Gentile  da  Fabriano.  The  picture  is  said  to 
come  from  the  gallery  of  Principe  Conti.” 

The  subject  of  this  picture  is  evidently  taken  from  some 
novel  or  poem  about  the  two  different  kinds  of  love.  The 
greatest  artistic  merit  of  the  picture  does  not,  however,  lie  in 
its  illustrative  qualities  but  in  its  decorative  beauty.  It  shows 
a remarkable  refinement  in  drawing.  The  small  figures  are 
agile  and  elegant,  their  types  are  graceful  and  they  are  grouped 
in  a very  free  and  natural  way.  The  mountain  scenery  and  the 
laurel  grove  form  a poetical  setting  for  the  successive  acts  of 
this  lovely  drama.  The  general  color-effect  is  rich  and  warm, 
with  blue,  red,  green  and  gold  as  the  principal  tones. 

The  stylistic  connection  with  Gentile  da  Fabriano  is  quite 
evident  both  in  the  figures  and  in  the  landscape  setting ; but  the 


[ 172  ] 


FOLLOWER  OF  GENTILE  DA  FABRIANO 


picture  stands  behind  Gentile’s  works  in  regard  to  naturalistic 
representation  and  realization  of  tridimensional  space.  It 
is  altogether  more  naive  and  childish;  some  of  the  figures  are 
almost  like  exquisite  dolls.  This  character  of  decorative  rich- 
ness in  conjunction  with  the  gayly  naive  spirit  of  the  conception 
makes  it  evident  that  the  painter  was  not  a Florentine  but  one 
who  had  learned  his  craft  in  the  Marches,  possibly  at  Fabriano 
or  Camerino. 

We  do  not  know  his  name,  but  we  are  inclined  to  recognize 
the  same  hand  in  four  small  predella  pictures  representing  the 
Visitation,  the  Nativity,  the  Adoration,  and  the  Flight  to  Egypt 
in  the  collection  of  Mr.  John  G.  Johnson  in  Philadelphia. 
These  pictures  are  in  the  catalogue  ascribed  to  an  Umbro- 
Florentine  painter,  towards  1425,  and  Mr.  Berenson  gives  a 
detailed  account  of  their  resemblances  to  the  work  of  both 
Gentile  da  Fabriano  and  Lorenzo  Monaco. 

If  we  are  right  in  our  supposition  that  the  four  predellas 
and  this  cassone  front  are  by  the  same  master,  the  former  must 
be  earlier  in  date.  The  marked  Florentine  influence  which  Mr. 
Berenson  points  out  in  them  does  not  appear  in  the  same  degree 
in  the  Jarves  picture.  Here  the  painter  is  more  purely  marche- 
giano,  an  intimate  follower  of  Gentile.  And  he  must  have  been 
a man  of  no  ordinary  talent ; the  picture  is  a masterpiece  of  its 
kind,  full  of  poetical  sentiment. 

Rankin  in  American  Journal  of  Arclmology,  1895,  II.  (“A  first  rate 
hand — distinctly  Florentine.”) 

The  same  in  the  Burlington  Magazine,  August,  1907.  (School  of 
Masaccio.) 


[ 173  ] 


FIORENZO  DI  LORENZO 


This  painter  was  born  about  1440.  Studied  first  under  Mezzas- 
tris  and  Bonfigli  in  Foligno  and  Perugia  and  came  then  under  the 
influence  of  Benozzo  Gozzoli,  who  painted  at  different  places  in 
Umbria.  Later  on  he  went  to  Florence,  and  worked  there  under  the 
guidance  of  Antonio  Pollajuolo.  He  became  here  also  acquainted 
with  Verrocchio’s  art.  He  is  supposed  to  have  died  shortly  after 
1521.  A great  number  of  Fiorenzo’s  works  are  in  the  gallery  at 
Perugia ; among  them  the  panels  representing  Miracles  of  San  Ber- 
nardino, painted  probably  as  early  as  1473.  They  reveal  a peculiar 
exaggeration  of  the  Pollajuolesque  striving  for  quick  movement  and 
cleancut  form.  His  later  works  are  better  balanced. 

68.  SAINT  JEROME  DOING  PENANCE 

The  saint  is  kneeling  in  front  of  the  entrance  to  his  grotto,  before  a cruci- 
fix, beating  his  breast  with  a stone ; his  mantle  falls  down  to  his  loins.  Behind 
the  saint  lies  the  lion.  Between  the  curiously  formed  rocks,  which  seem  to 
have  been  cut  out  of  lava  or  clay,  opens  a view  over  a valley,  writh  water 
winding  between  rocky  banks.  The  whole  landscape  has  a very  arid  and 
artificial  character.  The  general  color  tone  is  grayish  blue.  The  preservation 
is  excellent. 

Wood.  H.  1914  in-  W.  12  in. 

Old  Catalogue  No.  60.  “Fra  Filippo  Lippi.”  (The  statements  made  in 
the  catalogue  that  the  picture  formerly  belonged  to  Duke  Cosimo  I Medici, 
and  that  there  is  a companion  piece  in  the  Uffizi,  seem  to  be  founded  on  a 
mistake.) 

A comparison  between  this  picture  and  the  San  Bernardino 
illustrations  by  Fiorenzo  di  Lorenzo  in  Perugia  offers  full 
evidence  of  the  identity  of  the  master.  The  gaunt  and  angular 

[ 175  ] 


CATALOGUE  OF  THE  JAEVES  COLLECTION 


figures  in  stiffened  positions,  draped  in  mantles  -with  sharply 
creased  folds  which  flare  out  on  the  ground,  are  too  character- 
istic to  he  overlooked.  Details  such  as  the  bent  toe  and  the 
sinewy  hands  are  also  almost  as  good  as  a signature  by  the 
master.  This  picture  must  be  an  early  work  painted  in  the 
seventies  or  thereabout. 

A larger  representation  of  the  same  subject  by  Fiorenzo 
was  formerly  exhibited  in  the  gallery  at  Perugia,  but  is  now 
(1915)  for  sale  at  a picture  dealer’s  in  Florence.  The  com- 
position recalls  the  Jarves  picture,  but  the  landscape  is  richer 
and  more  naturalistic. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Fiorenzo.) 

Berenson,  Central  Italian  Painters,  I ed.  (Fiorenzo.) 

Crowe  and  Cavaleaselle,  History,  ed.  Borenius,  yoI.  V,  p.  270. 


[ H6  1 


CATALOGUE  OF  THE  JARVES  COLLECTION 

tiffened  positions,  draped  in  mantles  with  sharply 
, . . ; tv  ,lds  which  flare  out  on  the  ground,  are  too  character- 

A>  be  overlooked.  Details  such  as  the  bent  toe  and  the 
s,  aew  hands  are  also  almost  as  good  as  a signature  by  the 
master.  This  picture  must  be  an  early  work  painted  in  the 
seventies  or  thereabout. 

A larger  representation  of  the  same  subject  by  Fiorenzo 
was  formerly  exhibited  in  the  gallery  at  Perugia,  but  is  iJow 
1915)  for  sale  at  a picture  dealer's  in  Florence.  The  com- 
position recalls  the  Jarves  picture,  hut  the  landscape  is  ricner 

and  more  naturalistic. 

Rankin  in  American  Journal  of  Ai-eb.x-ol.ogy,  1895,  II.  (Fiorenzo.) 

Berenson,  Central  Italian  Painters,  I ed.  (Fiorenzo.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  270. 


[ 176  ] 


osmsihoJ  ia  oxiflafloil 
9DnBaaa  gnioCI  axnoi9L  inis3  .89 


LUCA  SIGNORELLI 


Luca  Signorelli  was  born  at  Cortona  in  1441  and  became  a pupil 
of  Piero  della  Francesca,  with  whom  he  worked  in  Arezzo  in  1472. 
Besides  this  education  he  was  strongly  influenced  by  Antonio  Polla- 
juolo.  Signorelli  visited  Rome  in  1482-1484,  painting  there  with  the 
best  contemporaneous  Florentine  masters  in  the  Sistine  Chapel. 
After  this  visit  he  went  back  again  to  his  native  town,  and  worked 
chiefly  there  during  the  remainder  of  his  life;  some  important  com- 
missions were,  however,  executed  in  other  places,  like  the  frescoes  in 
the  Cathedral  of  Orvieto  1500-1502,  and  those  in  the  cloister  of 
Monte  Oliveto  Maggiore  (1497).  The  later  part  of  his  life  was 
passed  entirely  at  Cortona.  He  died  there  in  1523.  Signorelli  was 
one  of  the  greatest  masters  of  movement  and  form  during  the  golden 
age  of  the  Renaissance;  his  figures  may  appear  coarse  and  rustic 
but  they  are  always  strongly  emotional  and  expressive. 

69.  THE  ADORATION  OF  THE  MAGI 

The  Virgin  sits  to  the  right  in  front  of  the  stable,  holding  the  Christ 
Child  on  her  knee;  Joseph  stands  at  her  side.  Before  the  Virgin  kneels  the 
oldest  of  the  three  kings,  a white-haired  man  in  dark  green  brocade  mantle 
with  arms  crossed  on  his  breast.  The  two  other  kings,  who  also  wear  sump- 
tuous brocade  mantles  with  gold  ornaments  on  red  and  brown  grounds, 
approach  with  gold  goblets  in  their  hands.  Further  towards  the  left  some 
curious  men  press  forward  to  see  the  Child,  and  up  on  the  hill  the  retainers 
of  the  kings  are  approaching  with  their  horses  and  their  laden  camels.  In 
the  background  opens  a wide  view  over  light  blue  mountains.  The  general 
color-effect  is  bright.  Joseph  has  a blue  coat  and  a brown  mantle,  Mary  a 
blue  mantle  lined  with  green  and  a red  garment.  The  kings  have  their  richly 
ornamented  brocade  tunics,  the  other  men  have  blue,  green  and  amethyst- 
colored  costumes.  The  painting  is  done  very  broadly,  with  thin,  fluent  colors. 

Wood.  H.  14!/8  in.  W.  1744  in. 

Old  Catalogue  No.  67.  “Signorelli.” 


[ H7  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


The  following  note  is  added  in  the  catalogue : “This  admir- 
able little  picture,  one  of  the  gems  of  the  collection,  is  in  perfect 
condition,  and  has  never  been  cleaned,  restored  or  repaired  in 
any  way.  It  will  need  to  be  transferred  to  canvas  at  some  future 
time,  but  will  not  be  marred  in  the  process,  if  it  is  rightly  done. 
When  purchased,  it  had  remained  for  many  years,  and  probably 
ever  since  it  was  painted,  in  the  Archbishop’s  palace  of 
Cortona.  ’ ’ 

The  suggestion  as  to  the  transferring  of  the  picture  from 
wood  to  canvas  has  as  yet  not  been  followed,  but  the  painting 
seems  to  have  undergone  some  restoration  not  entirely  success- 
ful. The  somewhat  rugged  appearance  of  the  broadly  executed 
figures  lias  not  been  improved  thereby. 

It  is  interesting  to  note  how  the  master  reduces  the  size  of 
the  panel  to  make  the  powerful  figures  appear  still  grander  and 
more  overwhelming  than  they  actually  are.  They  are  crowded, 
and  display  altogether  too  much  force  and  strain  in  their  move- 
ments and  their  attitudes.  Signorelli  emphasizes  the  physical 
expressions  of  the  emotions  almost  beyond  the  limit  of  beauty. 
He  wants  to  be  dramatic  at  any  cost. 

This  picture  is  probably  a comparatively  late  product  of 
the  great  master’s  brush.  It  is  painted  with  that  superior 
breadth  and  ease  which  are  characteristic  of  Signorelli’s  later 
works,  and  the  types  show  also  the  closest  resemblances  to  those 
in  the  pictures  at  Umbertide  and  Arezzo,  executed  in  1516-1519. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Signorelli.) 

Berenson,  Central  Italian  Painters,  I ed.  (Signorelli.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  V,  p.  117. 


[ 178  ] 


Luca  Signorelli 


i'g«M  yrl  i ]<>  norlinobA  arIT 


CATALOGUE  'OV  '/'HE  JARVES  COLLECTION 

The  followi V added  in  the  catalogue : “This  admir- 
able little  pic  " lie  gems  of  the  collection,  is  in  perfect 

condition.  : c ne  ver  been  0 nrd,  restc  red  or  repaired  in 

any  wa  1 11  need  to  oe  L t o. -t v mlto  cm  o n some  future 

tir  e ' ill  not  be  marred  -me  process.  ■ ' :htly  done. 

W1  - irehased,  it  had  remained  for  many  yea  r»  and  probably 
•ea'tce  it  was  painted,  in  the  Archbishop V phace  of 
na.” 

he  suggestion  as  to  the  transferring  of  the  picture  from 
I to  e mas  has  as  yet  not  been  followed,  but  the  painting 
is  to  tve  undergone  some  restoration  not  entirely  success- 
The  ;>mewhai  re..  appearance  of  the  broadly  executed 


u 

H 

g 

5 

o 

oc 


hn,  not  been  improved  thereby. 

■sting  to  note  how  the  m : ? educes  the  size  of 
powerful  figures  apt  nr  still  grander  and 

i ' ihev  aro  ’ wv  ; o-o  crowded,. 


Signorelli  emplia,- : w - 


. 1 most  beyond  the  limit  of  beauty. 

kaniatie  at  any  cost'. 

■•••ue  is  probably  a comparatively  late  product  of 
master’s  brush  I ;s  panted  with  that  superior 
1th  and  ease  vh  h - re  characteristic  of  Signorelli’s  later 
. erks,  and  the  types  show  also  the  closest  temn  a to  those 
q the  pi. -hares  at  Umbertide  and  A rezio,  no<or>  1 m ? h a-1519. 


Rankin  in  America’"  Journal  of  Archaeology,  1895,  II-  (Signoretli.) 
Berenson,  Central  Italian  Painters,  I ed.  (Signorelli.) 

Crowe  and  Cavalcaselle,  History,  ed.  Borenius,  vol.  L p.  117. 


[ 178  ] 


NORTH  ITALIAN  SCHOOLS 


MICHELE  DI  MATTEO  LAMBERTINI  ( <?) 

A Bolognese  artist,  active  about  the  middle  of  the  XV  century. 
He  is  represented  by  three  signed  pictures  in  the  gallery  at 
Bologna,  among  them  a triptych  representing  the  Pieta,  dated  1469. 
His  style  is  very  crude  and  decadent,  a late  derivation  from  the 
Bolognese  trecento  tradition. 

70.  THE  DEPOSITION  FROM  THE  CROSS 

The  Virgin,  clad  in  a blue  mantle,  sits  at  the  foot  of  the  Cross,  holding 
the  body  of  Christ  in  a half  reclining  posture  in  her  arms.  Mary  Magdalen, 
who  is  seated  on  the  ground  to  the  right,  holds  the  left  arm  of  Christ.  She 
wears  a cinnobar  red  garment.  Saint  John  is  standing  behind  her,  and 
supports  with  his  hand  the  head  of  Christ.  Behind  the  Virgin  are  two  more 
women,  the  one  in  gray,  the  other  in  green  mantle,  crying  and  lamenting 
with  vivid  gestures.  In  the  upper  part  of  the  picture,  to  which  a top  piece 
has  been  added,  we  see  the  foot  of  the  Cross  and  part  of  the  ladder  by  means 
of  which  the  body  of  Christ  has  been  taken  down. 

Wood.  H.  50  in.  W.  307/8  in. 

Old  Catalogue  No.  37.  “Antonio  Veneziano. ” This  attribution  is  pro- 
posed in  the  first  English  edition  of  Crowe  and  Cavalcaselle ’s  History  (I, 
491)  but  opposed  in  the  later  Italian  and  English  editions  of  the  same  book 
(II,  288). 

The  picture  is  decidedly  un-Florentine.  The  crude  and 
wooden  figures,  delineated  with  heavy  black  contours,  remind 
us  of  Bolognese  art  from  the  late  trecento  or  early  quattrocento. 
The  provincial  school  of  Bologna  stood,  as  a whole,  on  a much 
lower  level  than  that  of  Florence  or  Siena ; and  one  of  its  most 


[ 179  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 

decadent  representatives  was  Michele  di  Matteo  Lambertini. 
His  pictures  in  the  gallery  at  Bologna  show  figures  with  the 
same  short  proportions,  large,  formless  hands  and  feet  and 
types  bordering  on  caricature,  as  in  the  picture  described  above. 
Most  characteristic  of  Lambertini  are  the  large,  grimacing 
mouth  and  the  pointed  nose.  Still,  there  might  be  other  prac- 
tically unknown  Bolognese  painters  with  the  same  decadent 
characteristics  as  Lambertini.  In  attributing  the  picture  to 
him  we  therefore  use  his  name  rather  as  designation  for  a whole 
group  than  for  a master  of  strictly  individual  character. 

Crowe  and  Cavalcaselle,  A New  History  of  Painting  in  Italy,  ed.  1864, 
vol.  I,  p.  491.  (Antonio  Veneziano.) 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Ant.  Veneziano.) 


[ 180  ] 


Michele  di  Matteo  Lambertini  (?) 
70.  The  Deposition  from  the  Cross 


,/ 

i 


70.  The  Deposition 


ATALOGTTE  OF  THE  JARVES  COLLECTION 


;cadent  representatives  was  Michele  di  Matteo  Lambertini. 
His  pictures  in  the  gallery  at  Bologna  show  figures  with  the 
same  short  1 r portions,  large,  formless  hands  and  feet  and 
types  bo  i ig  on  caricature,  as  in  the  picture  described  above. 
Most  teristic  of  Lambertini  are  the  large,  grimacing 

mom  the  pointed  nose.  Still,  there  might  be  other  prac- 
tical!; unknown  Bolognese  painters  with  the  same  decadent 
characteristics  as  Lambertini.  In  attributing  the  picture  to 
him  . . therefore  use  Ms  name  rather  as  designation  for  a w ok 
group  than  for  a master  of  strictly  individual  character. 

owe  a .'.d  Cavaleaselle,  A New  History  of  Painting  in  Italy,  ed.  1864, 

voi.  r 491  (Antonio  Yeneziano.) 

Rankin  in  American  Journal  of  Archmlogy,  1895,  II.  (Ant.  Yeneziano.) 


\ 


[ 180  ] 


(i)  iyiiTflaaMAj  o3ttaM  ia  aaaHOiM 
330-iD  9fii  moit  noiJraoqaQ  sriT  .OT 


GIROLAMO  DA  CREMONA 


Judging  from  his  name,  the  painter  must  have  been  born  at 
Cremona,  hut  he  received  his  artistic  education  mainly  in  Padua  and 
Verona.  It  is  possible  that  he  for  some  time  studied  in  Squarcione’s 
workshop,  and  he  was  evidently  strongly  influenced  by  Mantegna’s 
early  works.  In  1467  he  was  working  on  miniatures  for  the  cathe- 
dral in  Siena;  in  1472  he  relieved  Liberale  da  Verona  as  a miniature 
painter  at  Monte  Oliveto  Maggiore,  and  in  1475  he  was  back  again 
in  Siena,  working  for  the  cathedral.  He  was  still  alive  in  1483. 

Girolamo  da  Cremona  was  known  only  as  a miniaturist  until 
Mr.  Berenson  proved  that  he  was  also  the  master  of  the  very  im- 
pressive altarpiece  in  the  cathedral  at  Viterbo  (dated  1472),  in  which 
“he  reveals  a talent  inferior  certainly  to  Mantegna’s,  but  not  to 
Liberale ’s  and  scarcely  to  the  talent  of  any  other  of  his  contempo- 
raries not  of  the  first  rank.”  But  some  years  before  this  discovery 
was  published  William  Rankin  had  already  rightly  attributed  the 
Jarves  picture  to  Girolamo  da  Cremona. 

71.  THE  NATIVITY 

The  Virgin  is  kneeling  in  adoration  before  the  little  Child,  who  is  lying 
on  the  ground  in  front  of  some  ruined  buildings.  Joseph  is  sitting  on  the 
other  side  of  the  Child,  lifting  his  hands  in  astonishment.  He  is  a scraggy 
old  man  with  white  hair  and  beard.  His  carmine  garment  and  orange 
mantle  are  rumpled  in  a swirling  mass  of  folds.  Mary  is  a more  refined 
figure ; her  dark  green  mantle  and  red  gown  are  draped  in  rather  tense 
long  folds.  The  ox  and  the  ass  stand  under  a vault  in  the  middle  distance, 
and  upon  one  of  the  ruins,  which  is  covered  with  grass,  two  shepherds  with 
some  sheep  are  watching  the  angel,  who  comes  floating  down  towards  them 
bringing  the  glad  message.  Higher  up,  under  the  rounded  arch  of  the  picture, 
God  the  Father  appears  in  half  length,  carried  by  cherubs.  The  sky  has  a 


[ 181  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


subdued,  dark  blue  tone;  the  ruins  and  the  small  figures  in  the  background 
are  almost  wrapped  in  darkness,  but  further  back,  at  the  horizon,  an  orange 
streak  is  breaking  through,  announcing  the  approaching  day. 

Transferred  from  wood  to  canvas  and  mounted  on  a rounded  board 
which  has  curved  the  surface  of  the  picture. 

H.  251/2  in.  W.  16%  in. 

Old  Catalogue  No.  55.  “ Squarcione.  ” 

The  old  attribution  points  in  the  right  direction  and  was 
certainly  the  best  possible  at  a time  when  Girolamo  da  Cremona 
was  very  little  or  not  at  all  known.  But  when  his  name  once  has 
been  proposed  as  an  attribution  for  this  picture  it  appears  so 
satisfactory  that  no  one  can  hesitate  to  accept  it  as  correct.  It 
is  hardly  necessary  to  point  out  in  particular  the  two  repre- 
sentations of  the  same  motive  among  Girolamo’s  miniatures  in 
Siena,  because  the  iconographical  correspondences  are  of  less 
importance  than  the  striking  mannerism  of  drawing  and  color 
which  connect  this  painting  with  Girolamo’s  miniatures.  The 
swirling  folds  of  Joseph’s  mantle  and  his  round  and  furrowed 
face  are  individual  characteristics  of  so  marked  a kind  and 
with  so  much  intrinsic  merit  that  they  could  hardly  be  success- 
fully imitated  by  another  master. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Girolamo  da 
Cremona.) 

Berenson  in  the  article  “An  Altarpiece  by  Girolamo  da  Cremona,” 
included  in  Study  and  Criticism  of  Italian  Art,  II. 

Berenson,  North  Italian  Painters.  (Girolamo.) 


[ 182  ] 


71. 


The  Nativity 


sr 


'N  OF  THE  JAR  YES  COLLECTION 

the  ruins  and  the  small  figures  in  the  background 
larkn  3S,  but  further  hack,  at  the  horizon,  an  orange 


through,  announcing  the  approaching  day. 


.•rv'ed  : -’O % ;<K)d  to  canvas  and  mounted  on  a rounded  board 

aas  curve  1 tile  surface  of  the  picture. 

H.  25k 2 in.  W.  16%  in. 

Old  Catalogue  No.  55.  ‘ ‘ Squarcione.  ” 

I 

Tl.  : attribution  points  in  the  right  direction  and  was 
certain  y the  best  possible  at  a time  when  Girolamo  da  Cremona, 
was  v little  or  not  at  all  known.  But  when  his  name  once  has 
been  reposed  as  an  attribution  for  this  picture  it  appears  so 
sat  - . 1 ry  tbat  no  one  can  hesitate  to  accept  it  as  correct.  It 

necessary  to  point  out  in  particular  the  two  repre- 
ss , the  same  motive  among  Girolamo’s  miniatures  in 

• the  iconographical  correspondences  are  A less 
d striking  mannerism  of  drawing  and  -o  r 
• rating  with  Girolamo’s  miniatures.  The 
r,;;.. voids  mantle  and  his  round  ana  furrowed 
;.d.ual  characteristics  of  so  marked  a kmd  and 
intrinsic  merit  that  they  could  hardly  be  success- 
v ..led  by  another  master. 


I sin  in  American  Journal  of  Archeology,  1895,  II.  (Girolamo  da 


Berenson  in  the  article  “An  Altarpiece  by  Girolamo  da  Grim  ^ 
led  in  Study  and  Criticism  of  Italian  Art,  II. 

Berenson,  North  Italian  Painters.  ^Girolamo.) 


[ 182  ] 


J ■ 


l 


AttOMHflO  AO  OMAJOfllO 

sdT  .IT 


XVI  CENTURY 


(CINQUECENTO) 


FLORENTINE  SCHOOL 


PIERO  DI  COSIMO 

Piero  di  Cosimo  was  born  at  Florence  in  1462,  the  son  of  a man 
called  Lorenzo  di  Piero;  his  real  name  was  therefore  Piero  di 
Lorenzo.  But  since  he  had  become  a pupil  and  assistant  of  Cosimo 
Rosselli  he  was  commonly  called  Piero  di  Cosimo.  He  accompanied 
Cosimo  Rosselli  when  this  master  was  summoned  to  Rome  in  1482 
by  Pope  Sixtus  IV,  and  took  an  active  part  in  decorating  the 
Sistine  Chapel,  painting  independently  at  least  one  entire  fresco  com- 
position. In  1485  he  returned  to  Florence,  and  was  employed  with 
Fra  Bartolommeo  in  the  convent  of  Sant’Ambrogio.  The  con- 
nection with  Rosselli,  however,  seems  to  have  lasted  until  the  death 
of  the  latter  in  1506,  and  Piero  may  have  had  a hand  in  several  of 
Rosselli ’s  paintings.  From  the  beginning  of  the  century  Piero  had 
come  under  the  still  stronger  influence  of  Leonardo  da  Vinci’s  art. 
The  great  master  visited  Florence  in  1501  and  worked  there  again 
between  1503  and  1506.  His  compositions  and  wonderful  pictorial 
style  were  almost  like  revelations  of  a new  art  to  the  painters  of 
Florence,  and  Piero  was  among  those  most  profoundly  impressed 
by  Leonardo.  According  to  Vasari’s  account,  Piero  di  Cosimo  was 
a man  of  curious  interests  and  habits,  caring  more  for  pagan  mythol- 
ogy than  for  Christian  conceptions.  During  the  last  decade  of  his 
life  he  seems  to  have  been  more  occupied  with  strange  speculations 
than  with  actual  painting.  He  died  in  1521. 

72.  PORTRAIT  OF  A LADY  HOLDING  A RABBIT 

She  is  represented  in  half  length,  slightly  turned  towards  the  left,  and 
there  is  no  contraposto  movement  between  head  and  shoulders.  Both  hands 
are  visible,  lightly  holding  a gray  rabbit  in  her  lap.  She  wears  a low  cut 


[ 185  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


brown  dress,  with  black  sleeves  which  are  slashed  in  their  upper  parts  so  that 
white  sleeves  puff  out.  The  neck  is  bare  and  decorated  with  a black  necklace. 
The  dark  chestnut  hair  is  held  in  with  a gold  embroidered  band  and  falls  as 
a thick  heavy  mass  down  on  the  back  of  the  neck.  The  blooming  face  and  the 
well-rounded  form  bear  witness  to  an  exuberance  of  health.  The  background 
is  formed  by  an  open  landscape,  the  horizon  being  slightly  above  the  shoulders, 
so  that  the  head  stands  out  against  the  light  blue  sky.  The  watery  marshland 
and  grass-covered  hills  are  bluish  green,  the  shrubs  and  trees  closer  to  the 
figure  darker  in  tone;  the  whole  view  is  suffused  with  a hazy  atmosphere. 
Since  the  picture  went  through  a cleaning  process  in  1915  the  general  color- 
effect  is  clear  and  light. 

Wood.  H.  23  in.  W.  18  in. 

Old  Catalogue  No.  68.  “Francesco  Francia.” 

The  portrait  is  said  to  represent  a lady  of  the  Vitelli  family  from  Citta 
di  Castello ; and  it  is  further  stated  that  ‘ ‘ this  exceedingly  valuable  picture 
was  obtained  from  the  Giovagnoli  family,  who  inherited  it  from  the  Vitelli, 
now  extinct.” 


Whether  the  tradition  about  the  person  represented  has 
any  foundation  in  reality  we  do  not  know,  but  we  are  inclined 
to  doubt  it,  because  the  portrait  is  painted  after  the  destruction 
of  the  Vitelli  family  by  Cesare  Borgia  in  1502,  and  not  any- 
where in  Umbria,  but  in  Florence. 

The  date  of  the  picture  can  be  approximately  fixed  by 
comparison  with  certain  dated  portraits  from  about  the  same 
epoch.  In  the  first  place,  it  seems  evident  that  the  composition 
has  not  been  conceived  without  influence  from  Leonardo’s 
Mona  Lisa.  The  position  of  the  figure  and  of  the  hands  recalls 
that  famous  portrait,  though  this  picture  has  little  of  the 
suppleness  and  mobility  of  the  great  model.  (Especially  the 
absolute  lack  of  movement  in  the  neck  produces  an  impression 
of  stiffness.)  We  know  that  Leonardo  worked  on  Mona  Lisa’s 
portrait  in  Florence  between  1503  and  1506.  The  Jarves  por- 
trait must  have  been  done  shortly  after ; it  is  likely  that  several 


[ 186  ] 


PIERO  DI  COSIMO 


artists  took  sketches  from  Leonardo’s  portrait,  just  as  Raphael 
did  when  he  needed  a scheme  of  composition  for  the  Maddalena 
Doni  portrait.  From  this  we  may  draw  the  inference  that  the 
Lady  with  the  Rabbit  was  painted  about  1506,  or  shortly  after. 

This  approximate  date  is  confirmed  by  a comparison  with 
Ridolfo  Ghirlandajo’s  portrait  of  a lady  in  the  Pitti  Gallery, 
Florence.  It  is  dated  1509.  The  picture  is  inferior  in  quality 
to  the  present  one,  but  the  composition  of  the  figure,  the  costume 
and  the  arrangement  of  the  hair  is  entirely  the  same;  the 
correspondences  are  so  close  that  one  is  forced  to  assume  that 
the  two  pictures  must  have  been  done  about  the  same  time.  The 
Jarves  picture  should  consequently  he  dated  about  1506  to  1509. 

The  attribution  to  Piero  di  Cosimo,  which  first  was  given 
by  Mr.  Berenson,  is  supported  especially  by  the  character  of 
the  landscape,  the  hazy  atmosphere,  the  sprinkled  trees  and 
bushes,  the  minuteness  in  detail  almost  reminding  us  of  Flemish 
painting.  We  find  this  kind  of  landscape,  for  instance,  in  Piero 
di  Cosimo ’s  portraits  of  Guiliano  di  San  Gallo  and  his  father 
in  Mauritzhuis  in  The  Hague;  and  in  the  Perseus  and  An- 
dromeda pictures  in  the  Uffizi — comparatively  late  works  by 
Piero,  in  which  the  influence  of  Leonardo  da  Vinci  is  clearly 
discernible. 

The  drawing  of  the  figure  is  less  characteristic  of  Piero  di 
Cosimo.  Here  wTe  already  discover  a marked  tendency  to  depart 
from  the  naturalism  of  Florentine  quattrocento  art  towards  a 
more  rigid  formalism.  It  reminds  us  of  certain  figures  by 
Piero’s  pupil  Mariotto  Albertinelli.  He  had  a special  liking 
for  dominating  vertical  and  horizontal  lines,  as  emphasized  in 
this  portrait.  One  may  study  for  comparison,  for  instance, 
Albertinelli ’s  tondo  with  the  kneeling  Madonna,  in  the  Pitti 
Gallery.  But  Albertinelli  cannot  have  been  the  master  of  this 
portrait;  the  landscape  alone  is  enough  to  exclude  such  a sup- 


[ 187  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


position.  It  is  in  all  probability  a work  by  Piero  di  Cosimo, 
though  from  a comparatively  late  period  in  his  career,  when 
he  already  had  left  behind  him  the  quattrocento  ideals,  and 
begim  striving  for  the  new  type  of  formal  beauty  which  belongs 
to  the  High  Renaissance. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (Fr.  Francia.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  II  ed.  (Piero  di 
Cosimo. ) 


[ 188  ] 


RIDOLFO  GHIRLANDAJO 

His  real  name  was  Ridolfo  di  Domenico  di  Bigordi,  but  like  liis 
father,  the  great  Domenico  Ghirlandajo,  he  was  called  Ghirlandajo. 
He  was  born  in  Florence  in  1483  and  lost  his  father  while  still  a 
child.  He  was  taken  under  the  protection  of  his  uncle  Davide,  also 
a painter,  who  probably  instructed  him  in  the  painter’s  craft.  His 
style  was  gradually  formed  under  influence  of  Granacci  and  Cosimo 
Rosselli,  later  on  particularly  of  Raphael.  He  became,  indeed,  a 
friend  and  assistant  of  the  young  Urbinate,  and  when  the  latter  was 
summoned  to  Rome  by  the  Pope  he  wanted  Ridolfo  to  go  with  him. 
Ridolfo  remained,  however,  in  his  native  town,  and  never  descended 
to  the  level  of  Raphael’s  Roman  school.  He  continued  to  work  in 
an  individual  manner  which  shows  a skillful  combination  of  the 
Florentine  quattrocento  tradition  with  the  more  suave  and  harmo- 
nious ideals  of  Raphael.  Some  of  his  altarpieces  are  from  a formal 
point  of  view  good  examples  of  the  High  Renaissance  in  Florence. 
Ridolfo  died  in  1561. 

73.  MADONNA  ENTHRONED  BETWEEN  SAINT  JER- 
OME AND  SAINT  DOMINIC 

The  Virgin  is  seated  on  a rather  high  stone  platform,  the  front  of 
which  is  decorated  with  a relief  representing  the  Crucifixion  and  four  kneel- 
ing men  in  gray  frocks  with  cowls ; they  seem  to  be  members  of  some  brother- 
hood or  Compagnia  which  probably  ordered  the  picture  for  its  chapel.  The 
Virgin  holds  the  Child  standing  on  her  right  knee,  and  points  with  her  left 
hand  to  Saint  Jerome,  to  whom  the  Child  also  seems  to  address  His  blessing. 
He  is  a very  attractive,  entirely  naked  little  lad,  who  performs  the  ritual 
blessing,  smiling  playfully.  The  old  Saint  Jerome,  who  holds  the  stone  of  his 
penance  in  the  left  hand,  turns  towards  the  Madonna  and  fixes  his  gaze 
devoutly  on  the  Babe.  At  his  side  is  seen  the  head  of  the  lion.  Saint  Dominic 


[ 189  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


on  the  other  side  of  the  throne  is  a young  and  sentimental  man,  turned  full 
face  towards  the  spectator.  He  holds  his  usual  attribute,  the  book,  in  his  left 
hand,  and  raises  the  right  towards  heaven.  He  wears  the  black  frock  on  the 
white  tunic,  while  Saint  Jerome  has  a gray  mantle.  The  Virgin  has  a bluish 
green  mantle  over  a carmine  red  undergarment. 

The  whole  background  is  filled  with  an  extensive  landscape,  which 
rises  towards  both  sides  in  undulating  hills,  while  the  centre  is  a valley 
leading  to  the  open  sea.  We  see  some  riders  travelling  in  the  valley  and, 
to  the  right,  Saint  Jerome  doing  his  penance.  The  landscape  has  a pale  brown 
tone ; the  horizon  over  the  sea  is  blue.  Large  parts  have  been  added  at  the 
top  of  the  picture  to  fill  out  the  low,  rounded  arch. 

Wood.  H.  82 y2  in.  W.  81%  in. 

Old  Catalogue  No.  97.  “Ridolfo  Ghirlandajo.  ” 

The  old  attribution  is  perfectly  correct,  as  can  easily  be 
verified  by  a comparison  with  some  of  Ridolfo ’s  signed  works, 
as,  for  instance,  the  large  altarpiece  representing  the  Adora- 
tion of  the  Child  in  the  museum  at  Budapest.  The  mild  and 
beautiful  Virgin  who  kneels  in  adoration  before  the  Child  is 
the  same  woman  as  the  one  who  sits  on  the  throne  in  the  Jarves 
picture ; Saint  Dominic  is  a brother  of  the  young  shepherd  with 
the  lamb.  The  figures  have  a remarkably  stately  and  orderly 
character,  they  are  well  drawn  and  well  dressed,  but  in  spite 
of  their  appropriate  gestures  they  reveal  scarcely  any  emotional 
life.  The  wide,  airy  landscape  suggests  more  feeling  than  the 
statuesque  figure  group.  This  is  built  in  the  same  way  as  so 
many  of  Fra  Bartolommeo’s  altarpieces,  forming  an  equilateral 
triangle  in  which  the  side  figures  are  turning  in  contraposto. 
It  is  one  of  the  most  characteristic  forms  of  composition  used 
in  the  High  Renaissance,  though  a rather  diluted  version. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (R.  Ghir- 
landajo.) 

Berenson,  Florentine  Painters  of  the  Renaissance,  II  ed.  (R.  Ghir- 
landajo.) 


[ 190  ] 


t 


catalogue  of  the  jarves  collection 


on  1 i,, side  of  the  throne  is  a young  and  sentimental  man,  turned  fuii 

fat  rds  the  s -ct&rar.  He  holds  his  usual  attribute,  the  book,  in  his  left 
h ; iid  raises  ■ he  right  towards  heaven.  He  wears  the  black  frock  on  the 
v t:  tunic,  v '.  he  Saint  Jerome  has  a gray  mantle.  The  Virgin  has  a bluish 
m mantle  over  a carmine  red  undergarment. 

The  whole  background  is  fille  I wj  ttenaive  landscape,  which 

■ ises  towards  both  sitjles  in  undulating  ha  . •,  Om  v ^ is  a valley 
leading  to  the  open  sea.  We  see  some  riders 

ro  the  right,  Saint  Jerome  doing  his  penance.  The  landscape  bm  ± ? 

me;  the  horizon  over  the  sea  is  blue.  Large  parts  have  been  added  . 
top  of  the  picture  to  fill  out  the  low,  rounded  areh. 

Wood  H.  82%  in.  W.  81%  in. 

Old  Catalogue  No.  97.  “Ridolfo  Ghirlandajo.  ” 

The  old  attr  is  perfectly  correct,  as  can  easily  be 

verified  by  a compai  idolfo’s  signed  works, 

as,  for  instance,  the  large  T v • ■ • *}■<■.  Adora- 

tion of  the  Child  in  the  museum  at  Budapest,  Th*  mfM 
beautiful  Virgin  who  kneels  in  adoration  before  vh*  Child  ** 
the  same  woman  as  the  one  who  sits  on  the  throne  in  the  Jarves 
picture ; Saint  Dominic  is  a brother  of  the  young  shepherd  with 
the  lamb.  The  figures  have  a remarkably  stately  and  orderly 
character,  they  are  well  drawn  and  well  dressed,  but  in  spite 
of  their  appropriate  gestures  they  reveal  scarcely  any  emotional 
life.  The  wide,  airy  landscape  suggests  more  feeling  than  the 
statuesque  figure  group.  This  is  built  in  the  same  w..,y  so 
many  of  Fra  Bartolommeo ’s  altarpieces,  forming  an  < 
triangle  in  which  the  side  figures  are  turning  in  contraposto. 
It  is  one  of  the  most  characteristic  forms  of  composition  used 
in  the  High  Renaissance,  though  a rather  diluted  version. 

Rankin  in  American^ HP  8fA(At$hi(&ology,  1895,  II.  (R.  Ghir- 

;; odajmipHrmO  Jnifiii  bnn  suntmL  Jniug  naawiad  banoirlioS  snnobeM  ,8T 

Berenson,  Florentine  Painters  of  the  Renaissance,  II  ed.  (R.  Ghir- 
landajo.) 

[ 190  ] 


i 


FRANCESCO  GRANACCI 


Francesco  Granacci  was  born  at  Florence  in  1477  and  received 
his  artistic  education  in  the  studio  of  Domenico  and  Davide  Ghir- 
landajo,  being  at  one  time  a fellow  pupil  there  with  Michelangelo, 
by  whom  he  was  much  influenced.  Later  on,  Fra  Bartolommeo’s 
more  academic  and  formalistic  art  became  Granacci ’s  model.  There 
is  a considerable  difference  in  style  between  his  early  and  his  late 
works;  his  whole  oeuvre  affords  a characteristic  reflection  of  the 
general  evolution  in  Florentine  painting  during  the  earlier  part  of 
the  XVI  century.  The  individual  element  is  the  smaller  part  in  his 
works.  Granacci  died  in  1543. 

74.  PIETA 

The  Virgin  is  seated  at  the  foot  of  the  Cross,  leaning  over  the  dead  body 
of  Christ  that  lies  quite  stiff  in  her  lap.  The  feet  are  supported  by  the  kneel- 
ing Mary  Magdalen,  the  head  by  Saint  Dominic,  who,  kneeling  on  his  right 
knee,  uses  the  left  as  a support.  The  Virgin  wears  a dark  brownish  violet 
mantle  over  a red  garment;  Mary  Magdalen  has  a red  mantle  over  a bluish 
green  robe.  The  background  is  formed  by  a hilly  landscape  with  some  large 
trees  on  both  sides  and  an  open  view  in  the  midst.  Here  are  represented  three 
scenes  from  the  story  of  the  Resurrection : ( 1 ) Mary  Magdalen  at  the  open 
Sepulchre  and  the  angel  addressing  her;  (2)  “Noli  Me  Tangere, ” or  Mary 
Magdalen  meeting  Christ  appearing  as  a gardener;  and  (3)  furthest  to  the 
left,  the  two  apostles  and  Christ  on  their  way  to  Emmaus.  The  background 
view  is  light  green;  the  hills  closer  to  the  foreground  are  brown,  the  trees 
green  and  brown. 

Wood.  H.  77%  in.  W.  65%  in. 

Old  Catalogue  No.  86.  ‘ ‘ Fra  Bartolommeo.  ’ ’ 

The  picture  shows  most  plainly  the  influence  of  Fra  Barto- 
lommeo and  Andrea  del  Sarto ; the  former  seems  to  have  deter- 


[ 191  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


mined  the  figure  group,  the  latter  the  landscape,  but  the  single 
figures  reveal  the  hand  of  Granacci.  The  painter’s  style  is 
particularly  evident  in  the  round  and  mild  face  of  Mary  Mag- 
dalen and  in  Christ’s  type  and  His  hands  with  the  bent  fingers. 
And  when  we  once  know  the  master,  it  is  easy  to  discover  char- 
acteristic features  of  his  even  in  the  other  figures.  The  senti- 
mental spirit  of  the  conception,  also,  answers  well  to  what  we 
usually  find  in  Granacci ’s  works.  There  is  another  Pieta  by 
Granacci  at  Quintole  near  Florence,  which  is  conceived  very 
much  in  the  same  way.  The  pictorial  sfumato  of  the  landscape 
is  further  developed  than  in  most  of  Granacci ’s  creations,  and 
reveals  a direct  connection  with  Andrea  del  Sarto.  The  picture 
should  hardly  be  dated  before  the  end  of  the  second  decade  of 
the  XVI  century. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Fr.  Gran- 
acci.) 


[ 192  ] 


Francesco  Granacci 


74. 


Pieta 


CATALOGUE  OP  THE  JAR  YES  COLLECTION 


mined  the  figure  group,  the  latter  the  landscape,  but  the  single 
figures  reveal  the  hand  of  Granacei.  The  painter’s  style  is 
particularly  evident  in  the  round  and  mild  face  of  Mary  Mag- 
dalen and  in  Christ’s  type  and  His  hands  with  the  bent  fingers, 
And  when  we  once  know  the  master,  it  is  easy  to  discover  char- 
acteristic features  of  his  even  in  the  other  figures  The  ?v*i- 
mental  spirit  of  the  conception,  also,  aow.  -*?■  ; r v ,;  ; 

usually  find  in  Granacei ’s  works.  Ther<  anothei 
Granacei  at  Quintole  near  Florence,  which  is  coi  very 

much  in  the  same  way.  The  pictorial  sf uniat o of  the  landscape 
is  further  developed  than  in  most  of  Granacei ’s  creations,  and 
reveals  a direct  connection  with  Andrea  del  Sarto.  The  picture 
should  hardly  he  dated  ‘before  the  end  of  the  second  decade  of 
the  XYI  century. 

Berenson,  Florentine  Painters  of  the  Renaissance,  Hi  ><L  v Gran- 
acei.) 


IDDAVTAH0  ODgaOVIAH’I 
Blsil  UT 


[ 192  ] 


ANDREA  DEL  SARTO 


Andrea  d ’Agnolo,  commonly  known  as  “del  Sarto,”  because 
his  father  was  a tailor,  was  born  in  Florence  in  1486.  He  became  a 
pupil  of  Piero  di  Cosimo,  and  his  style  was  further  developed  under 
the  influence  of  Fra  Bartolommeo’s  and  Leonardo’s  creations  in 
Florence.  Later  on,  Michelangelo’s  art  had  a deciding  influence  on 
Andrea. 

He  gradually  won  great  fame,  especially  as  a fresco  painter, 
and  was  invited  by  Francis  I to  France  in  1518;  but  the  next  year  he 
returned  to  Florence.  He  died  here  of  the  plague  on  January  22, 
1531.  Andrea  del  Sarto  was  the  only  real  colorist  among  the  painters 
of  Florence.  Continuing  the  late  pictorial  style  of  Piero  di  Cosimo, 
he  gradually  developed  a sfumato  technique  which  seems  to  envelop 
his  figures  in  a haze  of  warm  light.  His  earlier  works  have  an 
unusual  picturesque  charm,  but  in  the  later  compositions  this  is 
partly  lost  in  striving  for  monumental  effects  of  a Michelangelesque 
type. 

75.  MADONNA  AND  CHILD 

The  Virgin  is  seen  full  face,  head  and  shoulders  only.  She  holds  the 
smiling  Child  before  her  and  looks  downward.  A lilac  kerchief  is  bound  like 
a turban  around  her  head,  and  her  dress  shows  traces  of  red  and  yellow  color, 
but  most  of  the  color  flaked  off  when  the  painting  was  transferred  from  the 
wall. 

Fresco  painting  transferred  to  canvas. 

H.  27%  in.  W.  20^2  in. 

Old  Catalogue  No.  92.  “Andrea  del  Sarto.” 

This  picture  is  now  only  a shadow  of  what  it  originally  was, 
but  nevertheless  it  has  an  undeniable  charm  and  character  of 


[ 193  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


its  own.  The  figures  have  almost  lost  their  corporeal  reality, 
and  the  contours  are  partly  obliterated,  but  they  remain  as  a 
vision,  a soft  echo  of  a masterful  creation.  Under  such  condi- 
tions it  is,  of  course,  rather  hazardous  to  venture  a definite  attri- 
bution, but  if  a name  is  to  be  pronounced  for  this  picture  none 
seems  more  fitting  than  that  of  Andrea  del  Sarto.  That  which 
still  is  to  be  seen  of  the  types  and  of  the  colors  speaks  evidently 
of  Andrea’s  art.  And  we  hardly  believe  that  it  is  a school  pic- 
ture, rather  a youthful  creation  by  Andrea  himself.  It  should 
be  compared  with  early  paintings  by  Andrea,  such  as  the 
Madonna  in  the  Galleria  Nazionale  (Corsini)  in  Rome,  dated 
about  1511;  there  we  see  the  same  girlish,  well-rounded  face 
with  a short  nose  and  a small  mouth  as  in  this  Madonna  and  the 
same  brightly  smiling  Child.  Even  in  somewhat  later  works  by 
Andrea,  as,  for  instance,  his  large  fresco  representing  the  Birth 
of  the  Virgin  in  the  forecourt  of  the  SS.  Annunziata  in  Flor- 
ence (dated  1514),  the  same  types  and  the  same  color-scheme 
can  be  observed;  but  later  on  they  gradually  disappear.  In  a 
case  like  this,  where  so  little  of  the  detail  remains,  it  is,  however, 
more  than  usually  worthless  to  insist  mainly  on  the  formal 
analysis  of  the  picture.  It  is  the  general  tone  and  mode  of 
conception  which  here  are  of  primary  importance  for  the  attri- 
bution, which  in  a case  like  this  is  simply  a suggestion,  not  an 
affirmation. 

Rankin  in  American  Journal  of  Archceology,  1895,  p.  149.  (“Reminds 
me  of  Barocci.  ”) 

Berenson,  Central  Italian  Painters,  II  ed.  (Girolamo  del  Pacchia.) 


[ 194  ] 


Andrea  del  Sarto 
75.  Madonna  and  Child 


CATALOGUE  OP  THE  JAR  YES  COLLECTION 

its  own  The  figures  have  almost  lost  their  corporeal  reality, 

. cd  the  contours  are  partly  obliterated,  but  they  remain  as  a 
vision,  a soft  echo  of  a masterful  creation.  Under  such  condi- 
tions it  is,  of  course,  rather  hazardous  to  vevf  vv  a definite  attri- 
bution, but  if  a name  is  to  be  !',tie 

ems  more  fitting  than  that  oi  Aafam  M Sarto  That  ■ 
still  is  to  be  seen  of  the  types  and  of  me  colors  speaks  • ••  Gently 
of  Andrea’s  art.  And  we  hardly  believe  that  it  is  a school  o.-> 
ture,  rather  a youthful  creation  by  Andrea  himself.  It  should 
be  compared  with  early  paintings  by  Andrea,  sum  as  the 
Madonna  in  the  Galleria  Nazionale  (Corsini)  in  Rome,  dated 
about  1511;  there  we  see  the  same  girlish,  well-rounded  face 
with  a short  nose  and  a small  mouth  as  in  this  Madonna  and  the 
same  brightly  smiling  Child.  Even  in  somewhat  later  works  by 
Andrea,  as,  for  instance,  his  large  fresco  representing  the  Birth 
of  the  Virgin  in  the  forecourt  of  thf 
ence  ( dated  i U i : 

i • 

can  or 

. 5,  i : 

j--;  O V j»1  y.v  : j » ••  ■ ' 

,,  , ; t mainly  on  the  formal 

rire  : the  genera1  rone  and  mode  of 

aich  her*  ve  of  primary  importance  for  the  attri- 
uich  in  .a  case  like  this  is  simply  a suggestion,  not  an 

affi  oration. 

Rankin  in  American  Journal  of  Ardhaoiogy,  189a,  \>  ! J- 
nr  of  Barocci.”) 

Berenson,  Central  Italian  Painter?,.  11  ed,  nvoiaino  del  Fa.-.-  ,u  ) 


t 1 

otha3  jaa  ashciwA 
blidD  Inn;  minobeM  .It 


FRAN  CIABIGIO 


Franciabigio ’s  real  name  was  Francesco  di  Cristofano.  He 
was  born  in  Florence  in  1482  and  died  1525.  He  was  a pupil  of  Piero 
di  Cosimo  and  Albertinelli,  but  was  also  somewhat  influenced  by 
Leonardo  da  Vinci’s  works.  In  1505  he  became  acquainted  with 
Andrea  del  Sarto,  and  worked  for  some  time  in  company  with  this 
master.  Franciabigio  was  a highly  gifted  artist,  though  evidently 
lacking  in  balance  and  continuity.  Many  of  his  paintings  are  splen- 
did efforts  not  adequately  carried  out. 


76.  THE  THREE  ARCHANGELS 

Saint  Gabriel  with  the  lily,  Saint  Michael  with  the  sword  and  the  globe, 
San  Rafael  leading  the  little  Tobit  by  his  hand.  The  donor  of  the  picture  (a 
nun?)  is  represented  kneeling  in  the  left-hand  comer.  The  archangels  wear 
violet,  yellow,  green  and  orange  garments,  the  little  Tobit  is  blue;  the  colors 
have  an  iridescent  character.  The  figures  are  standing  on  a gray  stone  plat- 
form. The  background  is  dark. 

Wood.  H.  9%  in.  W.  14  in. 

Old  Catalogue  No.  83.  “Piero  di  Cosimo.” 

The  old  attribution  of  this  sketchy  little  picture  is  by  no 
means  surprising,  though  hardly  correct.  The  figures  bear  a 
certain  likeness  to  Piero  di  Cosimo ’s  later  creations,  as,  for 
instance,  the  Perseus  pictures  in  the  Ufifizi.  The  soft  and  oscil- 
lating color-scheme  may  also  have  been  derived  from  the  same 
source,  but  it  has  been  further  developed  under  the  influence 
of  Andrea  del  Sarto.  Broadly  speaking,  the  style  of  the  picture 
may  thus  be  characterized  as  a continuation  of  Piero  di 


[ 195  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Cosimo’s  pictorial  mode,  somewhat  modified  by  impressions  of 
Andrea  del  Sarto’s  more  coloristic  manner. 

The  figures  have  rather  characteristic  types.  The  round 
faces  with  the  broad  eyes  and  the  small  smiling  mouths  have  a 
very  individual  character,  and  so  has  the  drawing  of  the  extrem- 
ities, which  end  in  very  thin,  almost  pointed  feet  and  hands. 
The  same  mannerism  of  style  can  be  observed  in  several  of 
Franciabigio’s  authentic  works,  for  instance,  in  the  Hercules 
predella  in  the  Uffizi.  Another  peculiarity  of  the  master  is 
the  turning  of  the  figures;  he  makes  them  rest  with  the  whole 
weight  of  the  body  on  one  leg,  which  is  placed  in  profile ; but  by 
a turn  in  the  hips  the  upper  part  of  the  body  is  given  in  nearly 
full  front.  The  shoulders  are  thrown  back,  and  the  breast  is 
developed  in  its  full  breadth.  The  whole  movement  reveals  that 
striving  for  contraposto,  which  was  so  essential  to  Leonardo’s 
and  Andrea  del  Sarto’s  followers,  and  which  Franciabigio 
often  combines  in  an  individual  way  with  his  keen  sense  for 
sinuous,  floating  lines.  This,  in  conjunction  with  the  color- 
scheme,  is  the  main  basis  for  our  attribution. 


[ 196  ] 


76.  The  Three  Archangels 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Cosimo’s  pictorial  ; ;<le,  somewhat  modified  by  impressions  of 
Andrea  del  fi.  ' o's  more  coloristic  manner. 

pares  have  rather  characteristic  types.  The  round 
faces  ■ ' the  broad  eyes  and  the  snail  smiling  months  have  a 
idual  character,  and  ©drawing  of  the  extrem- 

es, which  end  in  very  thin,  almost  pointed  feet  and  hands 
same  mannerism  of  style  can  be  observed  1 cl 

tnciabigio’s  authentic  works,  for  instance,  * 1:  < / 
edella  in  the  Uffizi.  Another  peculiarity  of  the  ic.  r 
e turning  of  the  figures;  he  makes  them  rest  with  the  whole 
veigl  of  the  body  on  one  leg,  which  is  placed  in  profile ; but  by 
tun;  a the  hips  the  upper  part  of  the  body  is  given  in  nearly 
full  fr  •:  The  shoulders  are  thrown  back,  and  the  breast  is 

^devel  cl  ; n its  full  breadth.  The  whole  movement  reveals  that 


| ■ - ntial  to  Leonardo’s 


"•  SifO  V fOisO'V  ’VO-i  j: 

: j | ' 

'This,  In  unction 
b.:-,v«s  for  our  attribution. 


if1  se  i '.■*/ 
with  the  color - 


[ 196  ] 


f 


FRA  PAOLINO 


His  full  name  was  Paolo  del  Signoraccio,  but  be  was  usually 
called  Fra  Paolino  da  Pistoja.  He  was  bom  at  Pistoja  in  1490,  and 
received  his  first  instruction  in  painting  from  his  father,  Bernardo 
d ’Antonio  Detti,  called  Signoraccio;  but  after  having  entered  the 
Dominican  order  he  became  a close  imitator  of  Fra  Bartolommeo. 
He  also  finished  some  of  Fra  Bartolommeo’s  pictures  after  the 
master’s  death.  Fra  Paolino  died  in  1547. 

77.  AN  ANGEL  WITH  HANDS  CROSSED  ON  THE 
BOSOM 

The  figure  is  represented  in  quick  movement  towards  the  right,  with 
long,  orange-colored  mantle  and  pink  robe  fluttering  in  the  wind.  The  large 
wings  are  iridescent  in  green,  red  and  yellow.  The  background  is  formed 
by  a gray  stone  niche.  This  figure  is  evidently  cut  out  from  a larger  picture, 
which  might  have  represented  the  Annunciation,  but  as  the  Annunciation 
angel  in  the  pictures  by  Fra  Bartolommeo  and  his  followers  usually  carries 
the  lily,  it  seems  to  us  even  more  likely  that  this  angel  has  been  an  adoring 
side-figure  to  some  large  Madonna  who,  if  this  supposition  is  right,  would  have 
had  a corresponding  angel  on  the  opposite  side. 

Wood.  H.  47i/8  in.  W.  22yz  in. 

Old  Catalogue  No.  87.  “ Albertinelli.  ” 

The  picture  shows  Fra  Bartolommeo’s  art  in  a rather 
coarse  and  hard  translation,  and  it  is  even  further  removed 
from  the  noble  restraint  of  Albertinelli ’s  figures.  Its  nearest 
counterpart  is  Fra  Paolino ’s  Madonna  in  San  Domenico  in 
Pistoja;  in  this  we  find  the  same  type  and  the  same  treatment 
of  the  broad  and  sharply  broken  folds.  The  Madonna  sits  also 
in  a niche  which  recalls  the  background  of  the  present  picture. 


[ 197  ] 


PONTORMO 


(Copies  after  Pontormo) 

Jacopo  Carracci  was  generally  known  as  Pontormo — the  name 
of  his  birthplace,  not  far  from  Empoli.  He  was  born  in  1494  and  died 
in  1557.  He  came  to  Florence  in  time  to  feel  the  inspiring  thrill  of 
Leonardo  da  Vinci’s  great  new  compositions,  and  received  a very 
good  technical  training  in  Andrea  del  Sarto’s  workshop.  Later  on, 
Michelangelo’s  art  had  a deciding  influence  on  Pontormo.  Pontormo 
is  one  of  the  most  fascinating  draughtsmen  that  ever  have  worked 
with  red  chalk,  a genius  in  decorative  composition  and  an  interesting 
portrait  painter. 


78.  PORTRAIT  OF  COSIMO  I DE’  MEDICI,  GRAND 
DUKE  OF  FLORENCE 

Head  and  shoulders  only,  seen  almost  full  face.  He  wears  a black 
velvet  coat  with  braids  on  the  breast  and  a soft  white  collar.  Around  the 
neck  hangs  the  chain  of  the  Golden  Fleece.  The  expression  of  the  face  is  very 
dull  and  lifeless. 

Wood.  H.  2414  in-  "W.  18%  in. 

Old  Catalogue  No.  100.  “Pontormo.” 

The  old  attribution  of  this  portrait  to  Pontormo,  which  also 
has  been  accepted  by  Mr.  Berenson,  is  certainly  too  great  an 
honor  for  the  rather  wooden  and  lifeless  picture.  One  may 
discover  here  certain  features,  especially  in  the  drawing  of  the 
eyes  and  the  mouth,  which  recall  Pontormo’s  late  works,  but 
this  resemblance  is  superficial,  the  quality  of  the  picture  being 
much  inferior  to  any  of  Pontormo’s  authentic  portraits.  It 


[ 199  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


may  be  a copy  after  a lost  portrait  by  Pontormo,  as  has  been 
suggested  by  Mr.  F.  M.  Clapp,  but  the  execution  shows  the  dry 
and  hard  technique  of  the  Allori  bottega. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Pontormo.) 

79.  MARTYRDOM  OF  THE  THEBAN  LEGION 

According  to  certain  authorities  of  the  V century  a Theban  Legion, 
consisting  of  6,000  Christians,  suffered  martyrdom  by  the  order  of  Maximian 
in  the  Saint  Moritz  valley  of  the  Pennine  Alps.  This  story  has,  however, 
been  rejected  as  entirely  apochryphal  by  later  Christian  writers.  The  pic- 
ture represents  the  tyrant  throned  on  a raised  platform  in  the  foregi’ound, 
directing  the  wholesale  murder.  With  outstretched  arm  he  speaks  to  a man 
who  stands  turned  towards  him  ready  to  go  and  carry  out  his  command. 
On  the  sides  and  behind  the  platform  a great  number  of  naked  youths  are 
collected  in  groups;  they  are  being  executed  in  different  ways,  some  are 
bound  and  beheaded,  others  are  massacred  under  the  feet  of  galloping  horses 
and  still  others  are  crucified.  The  naked  bodies  form  a crawling  mass.  The 
general  color  tone  is  a brownish  gray. 

Wood.  H.  27  in.  W.  287/8  in. 

Old  Catalogue  No.  99.  “Pontormo.” 

This  picture  is  a copy  after  Pontormo’s  original  painting  in 
the  Pitti  Gallery  (No.  182).  It  is  grayer  in  tone  and  not  so 
spirited  in  drawing  and  workmanship  as  Pontormo’s  own 
work.  The  composition  is  carefully  copied,  but  on  several 
of  the  figures  some  more  clothes  have  been  added  over  the 
nude  parts,  which  makes  them  look  heavier  and  less  agile. 
The  copy  is  probably  executed  towards  the  end  of  the  XYI 
century  by  a secondary  man.  It  is  done  in  exactly  the  same 
size  as  the  original,  and  as  this  has  been  somewhat  cut  all 
around,  the  Jarves  picture  now  shows  a little  more  of  the  figures 
at  the  extreme  right  and  left  than  the  original  in  the  Pitti 
Gallery,  which  of  course  adds  some  interest  to  this  copy. 


[ 200  ] 


GIOVAN  ANTONIO  SOGLIANI 


(Probably  a copy  after  Sogliani) 

He  was  born  in  Florence  in  1492,  became  early  a pupil  of 
Lorenzo  di  Credi  and  was  later  influenced  by  Fra  Bartolommeo. 
Sogliani  was  inscribed  in  the  Compagnia  dei  Pittori  in  1522  and  died 
in  1544. 


80.  THE  DEAD  CHRIST  SUPPORTED  BY  JOSEPH  OF 
ARIMATHEA 

The  figure  of  Christ,  which  is  seen  to  the  knees,  is  in  a sitting  posture 
in  front  of  Joseph,  who  supports  the  body  under  both  arms.  Christ’s  head 
is  drooping  against  Joseph’s  shoulder;  the  latter  looks  out  above  the  Dead. 
A white  cloth  drapes  the  loins  of  Christ,  who  is  otherwise  unclothed.  The 
background  is  dark  brown ; the  whole  picture  is  very  sombre. 

Wood.  H.  28%  in.  W.  23  in. 

Old  Catalogue  No.  93.  “Probably  a pupil  of  Andrea  del  Sarto,  perhaps 
Puligo.” 

The  figures  in  this  picture  have  a marked  likeness  in  type 
and  design  to  those  in  Sogliani ’s  authentic  work.  As  a good 
specimen  for  comparison  may  be  chosen  the  Martyrdom  of 
Saint  Arcadius  in  San  Lorenzo,  Florence,  painted  1521.  The 
kneeling  man  in  this  picture  most  closely  resembles  the  dead 
Christ  of  the  J arves  panel,  the  slender  and  somewhat  structure- 
less forms  being,  in  both  cases,  very  characteristic.  The  type 
of  Joseph  resembles  one  of  the  old  men  in  the  same  painting. 
Other  features,  which  recur  in  several  of  Sogliani ’s  works,  are 
the  arrangement  of  the  hair,  which  falls  on  both  sides  of  the 


[ 201  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


large  ear,  and  the  angular  folding  of  the  drapery  under  the  arm 
of  Christ  and  across  His  lap. 

The  execution  of  the  picture  seems,  however,  somewhat 
later  than  Sogliani ; the  color-scheme  is  unusually  dark.  It  may 
be  a copy  after  a work  by  Sogliani,  and  the  writer  even  believes 
that  he  has  seen  the  same  composition  in  some  Florentine  collec- 
tion, though  he  is  not  able  to  exactly  place  it  in  his  memory. 


[ 202  ] 


BATTISTA  NALDINI 


Naldini,  who  also  was  called  Battista  degli  Innocenti,  because  he 
lived  a long  time  with  Don  Yicenzo  Borghini,  the  “spedalingo  degli 
Innocenti,”  was  born  at  Fiesole  in  1537.  He  died  in  Florence  in 
1590.  Naldini  began  his  artistic  career  as  a pupil  of  Pontormo, 
whose  early  works  he  successfully  imitated;  but  at  the  same  time 
he  learned  much  from  Andrea  del  Sarto’s  paintings.  After  having 
visited  Rome  at  the  time  of  Pope  Gregory  XIII,  Naldini  came  more 
and  more  under  the  influence  of  the  Michelangelo  school,  and  this 
influence  became  preponderating  during  the  fourteen  years  he  was 
assisting  Vasari  in  painting  the  frescoes  in  Palazzo  Vecchio  in 
Florence.  Naldini ’s  style  was  thus  very  flexible,  and  he  is  entirely 
dependent  on  the  master  he  follows  for  the  time  being. 


81.  ADORATION  OF  THE  MAGI 

The  composition  is  centralized;  the  Madonna  is  seated  in  the  midst  of 
the  picture,  and  on  both  sides  of  her  kneel  the  worshipping  kings.  They  are 
arranged  diagonally  in  relation  to  the  Madonna,  and  the  diagonals  are  con- 
tinued towards  the  background  by  means  of  standing  figures  behind  the 
Madonna.  She  marks  the  central  point  where  the  two  diagonals  cross  each 
other  at  right  angles.  The  retainers  of  the  kings,  in  varied  costumes,  throng 
the  left  side,  while  the  shepherds  and  some  old  men  with  turbans  come  forth 
from  the  other  side.  Especially  prominent  among  these  is  a tall  man  with 
bare  legs,  possibly  a portrait.  A monumental  arch  with  Doric  columns  rises 
high  in  the  middle  distance,  and  in  front  of  this  God  the  Father  comes  floating 
down  blessing  the  Mother  with  the  Child.  Under  the  arch  opens  a view  over 
a distant  valley,  but  at  the  sides  of  the  arch  the  view  is  closed  by  high  rocks. 

Wood.  H.  37V4  in.  W.  33  in. 

Old  Catalogue  No.  91.  ‘ ‘ Franciabigio.  ” 


[ 203  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


This  interesting  picture  is  now  in  rather  deplorable  condi- 
tion. It  probably  never  was  more  than  a lightly  painted  sketch, 
and  it  has  in  later  times  been  badly  rubbed  and  restored,  but 
nevertheless  it  preserves  still  a certain  coloristic  charm  and 
some  vivid  splashes  of  yellow,  red  and  green  tints.  It  must 
have  been  an  effort  in  that  kind  of  sfumato  painting  which 
Andrea  del  Sarto  made  so  popular. 

The  composition  was  evidently  inspired  by  Leonardo’s 
well-known  Adoration  of  the  Magi.  The  central  group  is  a 
somewhat  stiffened  translation  of  the  same  in  Leonardo’s  pic- 
ture, but  the  crowds  on  both  sides  are  the  painter’s  own  inven- 
tion. Some  of  the  figures  are  here  very  obscure,  and  thronged 
without  sense  for  bodily  reality;  some  are  borrowed  from 
Andrea  del  Sarto.  The  shivering,  half-naked  youth  to  the  right 
is  copied  from  Andrea’s  fresco  representing  San  Filippo  Benzi 
and  the  possessed  woman,  in  SS.  Annunziata;  and  the  negro 
king  on  the  other  side  of  the  picture  is  taken  from  Andrea’s 
Epiphany  fresco  in  the  same  cloister.  The  young  man  at  the 
side  of  this  negro  looks  like  a portrait  (possibly  of  the  artist 
himself),  and  so  does  the  kneeling  old  man  in  front  of  the 
shivering  youth  on  the  other  side;  his  pathetic,  upturned  face 
recalls  Michelangelo.  The  painter  must  certainly  have  been 
an  admirer  of  Michelangelo  because  the  athletic  God  the 
Father,  who  comes  floating  down  in  front  of  the  arch,  is  directly 
inspired  by  one  of  the  figures  of  God  the  Father  in  the  vault 
of  the  Sistine  Chapel. 

The  style  of  the  picture  is  thus  a curious  mixture  of  ele- 
ments borrowed  from  some  of  the  most  famous  painters  about 
the  middle  of  the  XVI  century,  all  very  much  weakened  and 
diluted  by  the  rather  meaningless  ingredients  which  the 
painter  has  added  on  his  own  accoimt.  His  own  capacity  as 
an  artist  was  evidently  not  very  high,  but  he  had  talent  enough 


[ 204  ] 


Battista  Naldini 


81. 


Adoration  of  the  Magi 


: THE  JAKYES  COLLECTION 


CATALOG'*!  E 


c ug  picture  is  now  in  rather  deplorable  condi 
t . y never  was  more  than  a lightly  painted  sketch, 

and-  ' - m later  times  been  badly  rubbed  and  restored,  but 

I ! v ess  it  preserves  still  certain  coloristic  charm  and 

son  id  splashes  of  yellow,  >vd  a a I green  tints.  It  must 

en  an  effort  in  that  kind  oi  which 

.Andrea  del  Sarto  made  so  popular. 

he  composition  was  evidently  inspired  by  L-.  mu  , 

; h -known  Adoration  of  the  Magi,  The  central  group  is 
» icwhat  stiffened  translation  of  the  same  in  Leonardo’s  pic- 
• but  Lhe  crowds  on  both  sides  are  the  painter’s  own  inven- 
don.  Some  of  the  figures  are  here  very  obscure,  and  thronged 
without  sense  for  bodily  reality;  some  are  borrowed  from 
Andrea  del  Sarto.  The  shivering,  half-naked  youth  to  the  right 
is  copied  from  Andrea’s  fresco  representing  San  Filippo  Benzi 
and  the  possessed  woman,  in  SS.  Annunziata ; and  the  negro 
king  on  the  other  side  of  the  picture  is  taken  from  Andrea’s 
Epiphany  fresco  in  the  same  Chester.  TA.  ye  ; < o w on  ai  the 
side  of  this  negro  looks  like  a mudrsU  {{  o o’  o of  -ei-tist 
> se i'.!  ■ , nd  so  ciocu  •;>  ; . ■■■  • o oi  i?  n - *>f  the 

youth  on  i his  pathetic,  upturned  face 

Micheh  ainter  must  certainly  have  been 

an  a er  of  langelo  because  the  athletic  God  the 

Father,  who  comes  floating  down  in  front  of  the  arch,  is  directly 
inspired  by  one  of  the  figures  of  God  the  Father  in  the  vault 
of  the  Sistine  Chapel.  ' . 

The  style  of  the  picture  is  thus  a curious  mixture  of  ele- 
ments borrowed  from  ^ggfAi^Ltirer^fiost  famous  painters  about 
the  middle  of  the  XY^  v$ry  much  weakened  and 

diluted  by  the  rather  meaningless,  ingredients  which  the 
painter  has  added  on  his  own  account.  His  own  capacity  as 
an  artist  was  evidently  not  very  high,  hut  he  had  talent  enough 


[ 204  ] 


BATTISTA  NALDINI 


to  mix  in  a pleasant  way  what  he  had  seen  in  the  works  of 
greater  men.  The  general  derivation  of  the  composition  and 
the  most  prominent  parts  of  the  picture  prove  that  he  was  a 
Florentine,  and  the  color-scheme  tells  that  he  belonged  to  the 
school  of  Andrea  del  Sarto. 

While  the  writer  was  trying  to  find  the  man  in  this  school 
to  whom  the  picture  might  correctly  be  attributed,  he  had  the 
good  fortune  to  meet  Mr.  F.  M.  Clapp,  the  learned  American 
authority  on  Pontormo  and  his  school.  Mr.  Clapp  suggested 
the  name  of  Naldini,  and  the  suggestion  seems  convincing,  al- 
though it  is  not  so  easy  to  prove,  because  Naldini  is  one  of 
those  ever  changing  minor  stars  who  takes  on  the  light  of  the 
sun  whose  orbit  he  is  crossing  at  the  time.  Still,  there  is  a repre- 
sentation of  the  same  subject  by  Naldini  in  Dresden  which 
offers  important  correspondences.  The  composition  of  this 
Epiphany  is  quite  different.  It  is  Roman  in  its  whole  tenor, 
but  some  of  the  less  important  parts  in  which  the  painter 
has  felt  most  free  to  follow  his  own  inclinations  are  strikingly 
like  corresponding  parts  in  the  Jarves  picture.  It  is  especially 
true  of  the  thronging  figures  in  the  background,  the  soldiers  and 
the  horses.  They  are  all  squeezed  in  without  regard  to  space  or 
corporeal  reality;  the  old  men’s  broad  faces  are  characteristic 
and  still  more  so  the  very  small  heads  on  the  broad,  heavy 
horses.  The  treatment  of  the  draperies  is  also  very  much  the 
same  in  both  pictures,  and  the  architectural  motives  show 
important  similarities.  No  doubt  the  Dresden  picture  is  a 
much  more  serious  effort,  an  academic  composition  somewhat 
on  the  line  of  the  late  Raphael  school,  but  it  still  reveals  some- 
thing of  the  same  feeling,  the  same  looseness  of  drawing,  the 
same  wavering  proportions  which  we  find  in  the  J arves  picture. 
There  is  the  same  weak  individuality  behind  both  these 
Epiphany  representations. 


[ 205  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


But  the  little  picture  in  the  Jarves  Collection  must  be  much 
earlier  in  date.  It  is  evidently  a youthful  work,  done  before  the 
painter  had  become  affected  by  the  contagion  of  the  pseudo- 
classic Roman  school.  It  is  purely  Florentine  and  lias  almost 
the  freshness  of  an  improvisation.  The  date  of  it  can  hardly 
be  much  later  than  1560. 


[ 206  ] 


GIOKGIO  V A8AK1 


Horn  at  Aro/.o  in  tot-.  Ho  learned  the  painter V craft  in  his 
homo  town,  but  canto  soon  to  Florence,  and  there  became  an  ardent 
follower  and  imitator  of  Michelangelo.  Vasari  was  really  more 
prominent  as  an  architect  and  decorator  than  as  a painter,  but  his 
greatest  fame  is  based  on  his  literary  work.  “ The  l ives  of  the  Most 
Fminent  Faintors,  Sculptors  and  Architects.”  Vasari  died  in  lo.'-t 

8L\  UTOKKTIA 

She  is  mule  and  seen  to  the  hips,  slightly  turned  towards  the  right  and 
leaning  forward.  With  her  right  hand  she  thrusts  the  dagger  mto  her  left 
breast,  and  inclines  the  head  to  her  right  shoulder  restraining  a cry  of  pam. 
A red  garment  is  falling  off  the  hips,  a given  drapery  covers  partially  the 
dark  background 

Wood.  11.  v 4 in.  W.  ’it!  in. 

Old  Catalogue  No.  I Ob.  “Giorgio  Vasari 

The  academic  type  and  the  twisted  movement  of  tins  figure 
are  rather  characteristic  of  Vasari,  and  so  are  the  bright  and 
cold  colors  which  scarcely  answer  to  the  morbid  sensualism  of 
the  conception.  Vasari  was  never  much  of  a painter  because 
his  intellectual  efforts  always  got  the  better  part  of  the  little 
fooling  for  color  and  significant  form  which  he  might  have  had. 
This  picture  is  a tour  do  force  of  academic  baroque. 


ALESSANDRO  ALLORI 


He  was  born  in  Florence  in  1535,  and  was  brought  up  by  Agnolo 
Bronzino,  who  was  a friend  of  his  father.  He  died  in  1607.  Allori 
was  active  both  as  portrait  painter  and  as  decorator  on  a large 
scale,  but  never  became  an  artist  of  importance. 

83.  PORTRAIT  OF  BIANCA  CAPELLO 

Head  and  shoulders  only,  slightly  turned  towards  the  left.  She  has 
a black  robe,  which  is  deep-cut  on  the  breast  and  trimmed  with  a high  white 
ruffle  around  the  neck.  Pearls  in  the  hair  and  a pearl  necklace.  The  back- 
ground is  dark. 

Wood.  H.  231/2  in-  W.  171,4. 

Old  Catalogue  No.  107.  “Paris  Bordone. ” 

There  are,  in  Italian  collections,  quite  a number  of  por- 
traits representing  Bianca  Capello,  the  fair  mistress  of  Duke 
Ferdinando  dei  Medici.  The  best  known  are  Allori ’s  portrait  of 
the  year  1565,  and  Bronzino’s,  which  is  five  years  later  (Uffizi). 
Both  represent  Bianca  comparatively  young  and  fair,  in  a 
costly  Spanish  dress,  and  with  an  air  of  courtly  grandezza. 
In  the  later  portraits  she  is  growing  continuously  fatter,  and 
looks  more  commonplace  (Pisa,  Uffizi) ; and  finally,  in  the  latest 
portrait  we  know  of  her — painted  about  1585  and  preserved  in 
the  collection  of  Archduke  Ferdinand  of  Tirol  in  Vienna — she 
is  indeed  an  Italian  m atron  a of  very  little  distinction.  The 
present  portrait  holds  a middle  place  in  this  series.  The  model 
is  no  longer  young  and  her  charm  seems  rather  frozen,  but  she 
is  not  yet  quite  as  fat  and  sedate  as  in  the  latest  one.  That  gives 
us  reason  to  date  it  about  1580.  It  is  very  like  the  portrait  of 


[ 209  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


which  Litta  gives  a line  engraving  in  the  “Famiglie  Celebri 
Italiane”  (Medici),  indicating  the  original  as  being  in  the  Uffizi. 

Whether  it  was  painted  by  Allori  himself  or  by  some  assist- 
ant in  his  workshop  is  hard  to  tell,  because  the  master’s  brush 
had  no  very  striking  individual  characteristics.  The  quality  of 
the  picture  does  certainly  not  induce  us  to  give  it  a very  promi- 
nent place  among  the  portraits  which  might  be  ascribed  to 
Allori,  but  it  shows,  on  the  other  hand,  great  care  and  minute- 
ness in  the  execution.  It  is  probably  a replica  done  under 
Allori ’s  supervision,  and  he  might  well  himself  have  taken  some 
part  in  the  painting  of  the  face  and  the  neck. 


[ 210  ] 


SCHOOL  OF  AGNOLO  BRONZINO 


84.  PORTRAIT  OF  PIERO  STROZZI  (1510-1558) 

He  was  the  son  of  Filippo  Strozzi  and  Clarice  de’  Hedici;  a well-known 
military  commander,  finally  Marechal  de  France.  Head  and  shoulders  only, 
turned  halfway  towards  the  right.  He  wears  a gleaming  steel  cuirass  and  a 
white  collar.  The  hue  of  the  face  is  reddish,  the  hair  and  the  heard  are  dark. 
The  background  is  brownish.  At  the  top  of  the  picture,  at  the  sides  of  the 
head,  is  written  PIERO  STROZZI. 

Wood.  H.  22%  in.  W.  16%  in. 

Old  Catalogue  No.  108.  “Jacopo  Bassano.’’ 

The  old  attribution  of  this  picture  may  have  been  caused 
by  a confusion  of  the  names  Jacopo  da  Ponte  and  Jacopo  Pon- 
tormo ; otherwise  it  is  hard  to  explain  its  ascription  to  a V ene- 
tian  painter.  The  picture  is  purely  Florentine,  from  the  second 
half  of  the  XYI  century.  The  technique  is  perfectly  character- 
istic of  the  Bronzino  school,  but  the  quality  of  the  picture  does 
not  come  up  to  the  work  either  of  Bronzino  or  Allori.  It  was 
evidently  done  by  some  inferior  man  from  the  same  workshop. 

Piero  Strozzi  was  also  one  of  those  celebrities  whose  por- 
traits collectors  of  that  time  wished  to  include  in  their  galleries 
of  famous  men.  "We  know  that  there  existed  in  the  Musasum 
Jovianum  a famous  collection  of  historical  portraits  which 
Paolo  Giovio  had  got  together  at  Como,  and  which  became  the 
model  for  other  similar  collections,  both  in  Italy  and  elsewhere. 
It  is  particularly  worth  noticing  in  this  connection  that  a great 
number  of  Paolo  Giovio ’s  portraits  (about  300)  were  copied 
between  1552  and  1568  by  the  Florentine  painter  Cristofano 
dell  ’Altissimo  for  Duke  Cosimo  I de  ’ Medici,  and  these  Floren- 


[ 211  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


tine  copies  were  in  their  turn  copied  (about  1576-1577)  for 
Archduke  Ferdinand  of  Austria.  The  Florentine  Collection 
exists  only  in  part  in  the  Uffizi,  hut  the  Archduke’s  copies  are 
completely  preserved  in  Vienna.  As  can  be  seen  from  a detailed 
account  of  this  collection  by  Dr.  Kenner  in  Jahrbuch  der  Kunst- 
sammlungen  des  Ostreich.  Kaiserhauses  1897,  these  copies  were 
executed  by  different  artists,  and  have  very  little  artistic  merit, 
but  they  are  iconographically  interesting,  and  help  us  in  recon- 
structing the  famous  Musaeum  Jovianum  (cf.  Muntz,  “Le 
Musee  de  Portraits  de  Paul  Jove”  in  Memoires  de  l’lnstitut, 
Tome  36, 1901). 

The  Vienna  Collection  includes  also  a portrait  of  Piero 
Strozzi  which,  judging  from  the  description  given  by  Kenner, 
must  be  like  the  one  in  the  Jarves  Collection,  though  with  some 
slight  variations  in  the  costume  and  the  turning  of  the  head. 
Such  liberties  were  often  taken  by  the  copying  masters  of  that 
time.  The  Uffizi  Collection  does  not  at  present  include  Piero 
Strozzi.  Perhaps  the  Jarves  picture  once  belonged  there,  or  at 
least  was  a replica  of  a similar  portrait  in  the  Grand  Duke’s 
collection.  The  question  is  of  secondary  importance,  and  almost 
impossible  to  answer  conclusively,  especially  as  we  know  that 
other  collectors  besides  the  Archduke  of  Vienna  had  sets  of 
copies  made  from  those  in  Florence.  It  may,  however,  be  safely 
assumed  that  the  Jarves  picture  is  a copy  by  some  Florentine 
master  about  1575,  after  a contemporary  portrait  of  Piero 
Strozzi  which  was  included  in  the  collection  of  Paolo  Giovio. 


85.  PORTRAIT  OF  DANTE 

The  figure  is  cut  just  above  the  waist  and  turned  three  quarters  to  the 
left.  There  is  no  movement  in  the  neck,  and  the  eyes  are  staring  straight  for- 
ward. With  the  right  hand  he  holds  an  open  book  in  front  of  the  breast.  He 


[ 212  ] 


School  of  Agnolo  Bronzino 


85, 


Portrait  of  Dante 


CATALOGUE  OF  THE  JARVES  (W  ) , in  , 

'copies  were  in  their  turn  (about  1576-1577}  lW 

nduke  Ferdinand  of  Austria.  The  Florentine  Collection 
exists  onlj  m pa,rl  in  the  Utizi,  hut  i rchduke  t ( , | , , - ai*e 
completely  preserved  in  Vienna.  As  « ■■>  hx  n fr-  >w  a detailed 
account : > collection  by  Dr,  Kents  m J hi  h m d«i 

sa  • • des  Ostreich  Mb  - .^r.  . 

executed  by  different  artists,  and  have  very  little 

but  t ‘ f • are  iconographically  interesting,  and  tv  , . r- , - 
strn  ng  the  famous  Musseum  Jovianum.  Muntz., 

M de  Portraits  de  Paul  Jove”  in  Memoires  de  1 ’Instil  at, 
Tome  36, 1901). 

"he  Vienna  Collection  includes  also  a portrait  -of  Piero 
n which,  judging  from  the  description  given  by  K Miner, 

••  be  ike  the  one  in  the  Jarves  Collection,  though- with  some 

he  head, 
.rors  of  that 
o .'Mi!  include  Piero 

. on ged  Ihetw  i - 
_ ■ rtrait  in  the  Grand  PmcVs 
l secondary  importance,  nd  almost 

* 

conclusively,  especially  as  we  knee 
.her  collector*  besides  the  Archduke  of  Vienna  had  sets  of 
■ ydes  m-  from  those  in  Florence,  b may,  hower  . be  safely 
assumed  that  the  Jarves  picture  is  a copy  by  some  Florentine 
master  about  1575,  after  a contemporary  portrait  Piero 
Strozzi  which  was  included  in  the  collection  of  Paolo  Gvmo. 


w PORTRAIT  OF  DANTE 

The  figure  is  cut  just  above  the  waist  and  turned  three  quarters  to  rM 

’here  is  no  movement  in  the  neck,  and  the  eyes  are  staring  straight  i>.-< 

With  the  right  hand  he  holds  an  open  hook  in  front  of  the  breast  I ; • 

oznsnojia  ojohoA  io  jooh:>8 
[ 212  ] • 
sJhbQ  to  JimJ-ioS  .c.H 


SCHOOL  OF  AGNOLO  BRONZINO 


wears  a black  coat,  of  which,  however,  only  the  sleeves  and  part  of  the  collar 
are  visible,  the  rest  of  it  being  covered  by  a pink  tunic ; a simple  cap  of  the  same 
color  covers  the  head,  and  around  the  cap  winds  the  laurel  wreath.  The 
background  has  a light  brownish  tone.  At  the  top  of  the  picture  is  painted 
with  yellow  color  in  two  lines:  DANTE  ALIGIER  CITTADIN  FIORETINO 
POETA  ACUTISSIMO  ET  DIVINO. 

Wood.  H.  28 y8  in.  W.  221/4  in. 

Old  Catalogue  No.  102.  “Unknown  painter.” 


This  picture  is  evidently  a copy  belonging  to  the  same  class 
and  bottega  as  the  previous  one,  though  executed  by  a different 
hand.  It  has  the  superficial  characteristics  of  an  early  Bron- 
zino, but  not  the  quality  of  an  original  work  by  the  master.  Its 
character  is  best  explained  by  the  assumption  that  it  is  a copy 
after  a painting  by  Bronzino.  In  expressing  this  opinion  Mr. 
F.  M.  Clapp  has  also  drawn  our  attention  to  the  fact  that 
Vasari,  both  in  the  Life  of  Pontormo  and  in  the  Life  of  Bron- 
zino, speaks  about  portraits  of  Dante,  Petrarca  and  Boccaccio — 
“figure  dal  mezzo  in  su,  bellissime” — which  Bronzino  executed 
in  the  lunettes  of  a room  in  Bartolommeo  Bettini’s  house  in 
Florence.  Pontormo  painted  for  the  same  room  a large  picture 
of  Venus  and  Cupid  on  a cartoon  by  Michelangelo.  All  these 
pictures  were  done  about  1533-1535. 

It  is  very  likely  that  this  portrait  of  Dante  by  Bronzino  was 
the  original  for  the  present  picture  as  well  as  for  others  of  the 
same  type ; for  instance,  the  portrait  in  the  Uffizi,  which  is  cut 
below  the  shoulders.  There  were,  of  course,  a great  number  of 
Dante  portraits  in  the  series  of  uomini  famosi  which  were 
made  up  in  Italy  and  elsewhere  during  the  third  quarter  of  the 
XVI  century.  But  whether  they  all  stood  in  such  a close  rela- 
tion to  Bronzino’s  picture  as  the  present  one  we  are  unable  to 
tell. 

This  Dante  portrait  has  recently  been  published  by  Pro- 


[ 213  ] 


CATALOGUE  OF  THE  JAR  YES  COLLECTION 


fessor  R.  T.  Holbrook,  in  a book  called  “Portraits  of  Dante,” 
but  nothing  is  there  said  about  its  artistic  origin  or  about  the 
general  group  of  Dante  portraits  to  which  it  belongs.  That 
would  have  carried  the  author  into  a discussion  of  the  Musaeum 
Jovianum  and  other  collections  derived  from  this.  He  mentions 
only  the  Uffizi  portrait  of  Dante  besides  the  picture  in  the 
Jarves  Collection  and  gives  to  the  latter  the  distinction  of 
having  been  the  original  for  Raphael  Morghen’s  popular  en- 
graving. The  reasons  for  this  assumption  are,  however,  by  no 
means  convincing;  the  only  thing  which  can  be  stated  with 
certainty  about  Morghen’s  engraving  is,  that  it  reproduces  the 
same  type  as  the  Jarves  picture;  that  is  to  say,  a translation, 
marked  by  Bronzino’s  individual  style,  of  an  earlier  quattro- 
cento Dante  type. 


[ 214  ] 


FLORENTINE  PAINTERS  ABOUT  1575 


Possibly  Cristofano  dell’Altissimo  (active  1550-1605) 

86.  PORTRAIT  OF  AMERIGO  VESPUCCI 

Head  and  shoulders,  profile  towards  the  right.  He  wears  a red  frock 
and  a turban-like  red  cap  on  the  head.  The  background  is  black.  At  the 
upper  edge  of  the  picture  is  painted  with  yellow:  AMERIGO  VESPUCCI. 
Canvas.  H.  22  in.  IV.  n1/^  in. 

Old  Catalogue  No.  101.  “Christofano  dell’Altissimo. ” 


87.  PORTRAIT  OF  FERNANDO  CORTEZ 

Head  and  shoulders  only,  seen  almost  full  face.  He  wears  a black  coat 
and  a black  cap.  The  background  is  brown.  Over  the  head  runs  the 
inscription:  FERD.  CORTES  INDOR,  DOMITOR. 

Wood.  H.  25  in.  W.  20*4  in. 

Old  Catalogue  No.  103.  “Unknown  painter.” 

These  two  portraits  belong  also  to  the  series  of  “ famous 
men”  which  have  been  discussed  in  the  note  to  No.  84 ; they  are, 
however,  inferior  in  quality  to  that.  They  are  not  executed 
by  the  same  hand  or  after  similar  originals.  The  Amerigo  Ves- 
pucci portrait  is  evidently  derived  from  some  Florentine  quat- 
trocento picture  (cf  Ghirlandajo’s  fresco  in  Ognissanti)  and 
the  Fernando  Cortez  from  some  Spanish  picture  of  the  XVI 
century.  The  painters  who  executed  the  copies  were  men  of 
very  inferior  talent  and  no  individual  characteristics.  Some- 
what different  portraits  of  Vespucci  and  Cortez  exist  in  the 
Archduke  Ferdinand’s  collection  in  Vienna  (cf.  note  to  No.  84.) 


[ 215  ] 


SIENESE  SCHOOL 


MANNER  OF  SODOMA 

Giovanni  Antonio  Bazzi,  known  as  Sodoma,  was  born  at  Ver- 
celli  in  1477.  He  learned  the  painter’s  craft  under  Martino  Spanzotti 
in  his  home  town  and  came  later  in  contact  with  Leonardo  da  Vinci 
in  Milan.  About  1501  he  settled  in  Siena,  introducing  here  a crude 
reflection  of  the  great  Florentine  master’s  art.  Except  for  some 
visits  in  Rome  (1508)  and  to  different  places  in  Northern  Italy, 
for  which  he  executed  frescoes  and  altar  pictures,  he  lived  chiefly  in 
Siena,  and  there  had  a large  following,  among  others  Girolamo  del 
Pacchia,  Beccafumi  and  Peruzzi.  The  artistic  quality  of  his  crea- 
tions, which  never  was  very  high,  declined  more  and  more  as  years 
went  on.  Sodoma  died  in  1549. 

88.  MADONNA  WITH  THE  CHILD  ACCOMPANIED  BY 
THE  LITTLE  SAINT  JOHN,  SAINT  CATHERINE 
AND  SAN  BERNARDINO  OF  SIENA 

The  Virgin  is  shown  to  below  the  knees;  she  is  seated,  slightly  turned 
towards  the  right,  holding  the  Child  in  a kneeling  position  on  her  knee.  He 
leans  forward,  blessing  with  both  hands  the  little  Saint  John  who  devoutly 
crosses  his  arms  on  his  breast.  The  two  Sienese  saints,  Saint  Catherine  with 
the  lily  and  San  Bernardino  with  the  tablet  bearing  the  letters  I.  H.  S., 
stand  behind  the  Madonna,  appearing  above  her  shoulders.  There  is  a tree 
behind  the  Madonna  and  a distant  view  in  the  background  behind  Saint 
Catherine.  The  color-effect  is  striking ; the  Virgin  has  a green  mantle  over  a 
bright  carmine  red  garment,  Saint  Catherine  wears  a gray  kerchief,  San  Ber- 
nardino a brown  frock ; the  flesh  is  pale  gray. 

Wood.  H.  3914  in.  W.  27  in. 

Old  Catalogue  No.  95.  ‘ ‘ Sodoma.  ’ ’ 


[ 217  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Tlie  drawing  in  this  picture  is  very  limp  even  for  a late 
Sodoma  and  the  brushwork  is  summary.  Still,  the  main  types 
are  Sodoma ’s,  particularly  Saint  Catherine’s  and  the  Virgin’s 
oval  faces,  with  the  long,  narrow  eyes  and  the  slightly  bent 
noses.  The  character  of  the  landscape  behind  Saint  Catherine 
is  also  strikingly  Sodomesque.  We  find  the  same  kind  of 
landscape,  for  instance,  in  Sodoma ’s  Judith  picture  in  the 
museum  in  Hanover,  and  in  several  other  of  his  later  Sienese 
creations.  At  the  Sienese  exposition  in  1904  there  was  a Ma- 
donna with  Saint  Joseph  and  Saint  John  attributed  to  Sodoma 
(photo  Brogi  No.  14925)  closely  resembling  the  Jarves  picture. 
Still,  it  should  not  be  denied  that  the  two  boys  in  this  picture  are 
rather  strange  for  Sodoma;  they  seem  to  indicate  a follower 
of  his.  We  are  thus  led  to  assume  that  the  picture  was  painted 
in  Sodoma ’s  bottega  in  Siena,  under  the  master’s  supervision 
though  partly  by  the  hand  of  some  pupil. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Scuola  del  Sodoma.) 


89.  CHRIST  BEARING  THE  CROSS 

The  figure  is  seen  only  to  the  waist;  He  moves  towards  the  right  but 
turns  His  head  in  the  opposite  direction  to  see  the  man  who  is  taunting  Him, 
shouting  with  wide-open  mouth.  This  ferocious  face  appears  in  contrast  to 
the  calm  and  restrained  expression  of  Christ’s  face,  which  is  stained  with  blood 
dropping  from  the  wounds  under  the  crown  of  thorns.  The  picture  has 
probably  been  cut  down;  the  figures  and  the  large  Cross  are  squeezed  into 
a very  narrow  space.  Two  soldiers’  faces,  partly  cut  off,  appear  in  the  back- 
ground. The  color  is  brownish;  a red  mantle  is  falling  over  Christ’s  shoulder. 

Wood.  II.  25%  in.  W.  18i/2  in. 

Old  Catalogue  No.  94.  “Sodoma.” 

The  picture  has  been  injured  in  some  parts,  for  example, 
the  taunter’s  face,  and  is,  as  a whole,  a rather  cursory  piece  of 


[ 218  ] 


Manner  of  Sodoma 


88,  Madonna  with  the  Child  Accompanied  by  the  Little  Saint  John. 
Saint  Catherine  and  San  Bernardino  of  Siena 


catalogue  of  the  JAKVES  COLLECT  I ON 

/ 

The  drawing  in  diis  picture  is  very  limp  even  for  a late 
Sodoma  and  the  brush  work  is  summary.  Still,  the  main  types 
are  Sodoma’-'  ncularly  Saint  Catherine’s  and  the  Virgin’s 
oval  faces  rub  the  long,  narrow  eyes  and  the  slightly  bent 
noses.  The  character  of  the  landscape  behind  Saint  Catherine" 
is  at-:-  ' ih kingly  Sodomesque.  We  tv,’  , • f 

: a,  e,  for  instance,  in  Sodom,  i : ■ uj  the 

I.,  urn  in  Hanover,  and  in  several  olio.,  nis  later  Si  ■ - 
ions.  At  the  Sienese  exposition  in  1904  there  was  a Ma- 
: a with  Saint  Joseph  and  Saint  John  attributed  to  Sodoma 
o Brogi  No.  14925)  closely  resembling  the  Jarves  picture, 
t should  not  be,  denied  that  the  two  boys  in  this  picture  are 
Hange  for  Sodoma;  they  seem. to  indicate  a follower 
V - are  thus  led  to  assume  that  the  picture  was  painted 
:;a  in  Siena,  under  the  master’s  superv;-mn 
;,f  me  pujvl 


waist;  He  moves  cowards  the  right  but 
, ie  f : .lection  to  see  the  man  who  is  taunting  Him, 

g wide-op-  oionth.  This  ferocious  face  appears  in  contrast  to 
- restrained  expression  of  Christ’s  face,  whir  is  star-v-  i with  b't*>d 
.ipiag  from  the  wounds  under  the  crown  of  thorns  t ■ ; - - htt 

ably  been  cut  down;  the  figures  an  • 
very  narrow  space.  Two  soldiers’  faces,  partly  ci 
md.  The  color  is  brownish ; a red  aani  , . ? fa  . over  wrist’s  shoulder. 
Wood.  H.  25%  in.  W.  18%  in. 

Old  Catalogue  No.  94.  ‘ ‘ Sodoma.  ’ 

■ he  picture  has  been  injured  in  some  parts,  for  example, 
the  -iter’s  face,  and  is,  as  a whole,  a rather  cursory  piece  of 

[ 218  ] 

A.MOdoS  to  hhvihaM 

.nrloL  jnifiS  sUiiJ  9i»  ^d  b9inGqaioooA  bliriO  srll  dJrw  annobsM  .88 
Bnaig  to  onib-temaH  ns8  briB  aahariJnJ  tnn;8 


MANNER  OF  SODOMA 


work  of  very  little  artistic  merit.  Christ’s  type  is  well  known 
from  Sodoma’s  popular  fresco  representing  Christ  at  the 
column  in  the  Siena  Academy,  but  the  quality  of  the  picture  is 
so  gross  that  it  would  be  an  injustice  even  to  a man  like  Sodoma 
to  suppose  that  he  painted  it  himself.  The  picture  may  be 
regarded  as  a product  of  his  workshop. 


[ 219  ] 


BECCAFUMI 


Domenico  di  Jacopo  di  Pace,  called  Beccafumi,  was  born  at 
Cortine  (province  of  Siena)  in  1486.  He  became  a pupil  of  Girolamo 
Pacchiarotto  and  was  later  influenced  by  Sodoma  and  Fra  Barto- 
lommeo. He  studied  also  the  works  of  Raphael  and  Michelangelo 
in  Rome,  during  a stay  there  from  1510  to  1512.  Except  for  short 
visits  to  Pisa  and  Genoa  he  worked  the  rest  of  his  life  in  Siena  and 
died  there  in  1551.  Beccafumi  was  a rather  original  character,  show- 
ing a marked  interest  in  pictorial  problems,  especially  chiaroscuro, 
but  he  was  uneven  and  declined  in  his  later  years. 

90.  SAINT  CATHERINE  OF  SIENA  SWOONING 

She  has  fallen  to  the  floor,  and  is  supported  in  half  reclining  posture  by 
three  small  floating  angels.  She  is  wearing  the  Dominican  dress — a white 
tunic  and  a black  mantle — and  her  hands  show  the  stigmata.  Christ  is  float- 
ing down  from  the  sky  pointing  with  His  hand  upwards.  Between  the  columns 
at  either  side  opens  a view  over  the  sea  in  the  background.  The  general  color- 
scheme  is  a harmony  of  grayish  green  and  brown  with  some  white  in  the 
robe  of  the  nun. 

Wood.  Cleaned  and  restored  1915.  H.  221/2  in.  W.  1 6^  in. 

Old  Catalogue  No.  96.  ‘ ‘ Beccafumi.  ’ ’ 

It  seems  evident  that  this  picture  has  not  been  created 
independent  of  Sodoma ’s  well-known  representation  of  “II 
Svenimento  di  Santa  Caterina”  in  San  Domenico  in  Siena.  The 
position  of  the  main  figure  is  very  similar,  but  at  the  same  time 
it  is  by  no  means  an  imitation.  Saint  Catherine  is  individually 
characterized,  more  like  her  old  portraits  than  she  is  in 
Sodoma ’s  fresco ; the  angels  and  the  landscape  are  entirely  inde- 
pendent of  Sodoma ’s  composition. 


[ 221  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Tlie  traditional  attribution  of  this  picture  to  Beccafumi 
seems  plausible,  though  it  is  in  such  poor  condition  that  it  does 
not  strike  one  at  once  as  a characteristic  work  by  the  master. 
It  has  lost  a good  deal  of  its  pictorial  bouquet.  Yet  the  type  of 
the  saint  is  perfectly  characteristic  of  Beccafumi  (it  occurs 
again,  for  instance,  in  the  tondo  in  Mimich)  and  so  is  the 
arrangement  of  her  clothes,  which  slip  along  her  body  and  limbs 
as  if  they  were  wet.  The  small  angels  seem  less  characteristic, 
but  that  might  be  due  partly  to  the  uneven  preservation  of  the 
picture.  The  greenish  tone  of  the  landscape  and  the  gray 
harmony  in  the  foreground  tend  also  to  prove  that  Beccafumi, 
in  some  of  his  weaker  moods,  painted  this  little  picture. 

Perkins  in  Rassegna  d’Arte  Senese,  1905,  II.  (Seguace  del  Beccafumi.) 


[ 222  ] 


Yf 


Beccafumi 


90.  Saint  Catherine  of  Siena  Swooning 


CATALOGUE  OF  THE  JABVES  COLLECTION 

i attribution  of  this  picture  to  Beccafumi 
seems  plauU:  k.  hough  it  is  in  such  poor  condition  that  it  does 
not  strike  ■ ■ at  once  as  a characteristic  work  by  the  master. 
It  has  lei.  good  deal  of  its  pictorial  bouquet.  Yet  the  type  of 
the  s ah  r s perfectly  characteristic  of  Beccafumi  (it  occurs 
agai  >v  instance,  in  the  tondo  in  Munich)  and  so  is  the 
ment  of  her  clothes,  which  slip  along  her  body  and  limbs 
a - they  were  wet.  The  small  angels  seem  less  charac- erisite,' 
Pat  might  be  due  partly  to  the  uneven  preservation  : i • 
;re.  The  greenish  tone  of  the  landscape  and  the  gray 
aony  in  the  foreground  tend  also  to  prove  that  Beccafumi, 
me  of  his  weaker  moods,  painted  this  little  picture. 

Ions  in  Bassegna  d’Arte  Senese,  1905,  IL  : Seguae : del  Beccafunu.) 


[ 222  ] 

IMUTA0039 

^ninoow3  Bfi3i3  snrcsrfJfO  in ib3 


CENTRAL  ITALIAN  SCHOOLS 


GIROLAMO  MARCHESI  DA  COTIGNOLA 

This  painter  was  born  at  Cotignola  in  the  Marches,  about  1481, 
and  studied  painting  under  Francesco  Zaganelli.  Later  on  he  visited 
Naples  and  Rome,  and  was  there  much  influenced  by  the  Raphael 
school.  Pictures  by  him  in  Bologna  and  Berlin  are  dated  1516  and 
1526.  He  died  in  Bologna  in  1540. 

91.  SAINT  SEBASTIAN 

Half  length  figure,  turned  slightly  towards  the  right.  He  stands  in 
front  of  a column,  gazing  upwards,  with  hands  joined  in  prayer.  Three 
arrows  pierce  the  nude  body.  Two  small  angels  in  pink  robes,  kneeling  on 
cloudlets,  offer  him  the  crown  and  the  palm  of  martyrdom.  Dark  background. 

Wood.  H.  271/2  in.  W.  20%  in. 

Old  Catalogue  No.  98.  ‘ ‘ Girolamo  Cotignola.  ’ ’ 

The  old  attribution  is  probably  correct,  though  this  picture 
stands  somewhat  higher  in  quality  than  most  of  Girolamo’s 
works.  It  approaches  closely,  however,  the  half  length  of  San 
Niccolo  of  Tolentino  in  the  John  G.  Johnson  collection  in 
Philadelphia  and  the  signed  Pieta  by  Girolamo  in  Budapest. 
The  type  of  Christ  in  that  picture  is  practically  the  same  as 
Saint  Sebastian’s;  the  wooden  hands  are  also  very  character- 
istic in  both  pictures.  The  small  kneeling  angels  connect  the 
picture  with  Girolamo ’s  teacher  Zaganelli ; still  they  are  entirely 
quattrocentesque.  If,  as  we  believe,  Girolamo,  and  not  his 
teacher,  was  really  the  author  of  this  work,  he  must  have  painted 
it  very  early,  possibly  while  still  working  in  Zaganelli ’s  studio. 


[ 223  ] 


Girolamo  Marchesi  da  Cotignola 

91.  Saint  Sebastian 


AJOVIQIToO  AG  I83HOHAM  OMAJOfllxO 
rmiafidag  Jnifig  -ie 


BERTUCCI 


Giovanni  Battista  Bertucci  was  a native  of  Faenza ; the  year  of 
liis  birth  is  not  known.  His  father  was  the  painter  Michele  Bertucci, 
who  probably  also  acted  as  the  younger  Bertucci ’s  teacher.  The 
earliest  record  relating  to  him  is  of  the  year  1503,  when  he  painted  an 
altarpiece  for  San  Antonio  at  Faenza ; the  latest  is  of  the  year  1516. 
Bertucci ’s  style  shows  a combination  of  Umbrian  elements  from  the 
Perugino-Pintoricchio  school,  and  Bolognese  features  derived  from 
the  Francia-Costa  school.  Most  of  his  works  are  in  Faenza,  but  there 
are  good  specimens  also  in  the  museums  in  London  and  Berlin. 


92.  MADONNA  WITH  THE  LITTLE  SAINT  JOHN  AND 
FOUR  SAINTS 

To  the  right  are  Saint  Anthony  of  Padua  and  Saint  Jerome ; to  the 
left  Saint  Anthony  Abbas  and  Saint  Augustinus  ( ?).  The  Madonna  is  seated 
and  cut  off  below  the  knees;  of  the  saints  little  more  than  the  heads  are 
visible.  The  Child  is  standing  on  the  Virgin’s  knee,  holding  Himself  upright 
by  a grasp  in  her  mantle  and  squeezing  a bird  in  His  other  hand.  He  meets 
smilingly  the  gaze  of  the  little  Saint  J ohn,  who  looks  towards  Him  with  hands 
devoutly  clasped.  The  Virgin  has  a green  mantle  over  a reddish  violet 
garment;  the  little  Saint  John’s  mantle  is  yellow;  the  sky  is  light  green. 

Wood.  H.  2114  in.  W.  13*4  in. 

Old  Catalogue  No.  90.  “Giovanni  lo  Spagna.” 

There  is  enough  mannerism  in  Bertucci ’s  works  to  make 
the  master  easily  recognizable.  The  somewhat  swollen  faces 
with  the  long  noses,  the  badly  drawn  hands  with  the  pointed 
fingers,  the  puffy  folds  and  the  smirking,  round-headed  children 
are  all  to  be  found  in  the  signed  works  by  the  same  master  in 


[ 225  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Faenza  and  in  Berlin.  His  figures  are  rather  uncouth  and 
provincial,  hut  the  compositions  reflect  the  perfect  models  of 
Francia  and  Pintoricchio. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (Lo  Spagna.) 
Berenson,  Central  Italian  Painters  of  the  Renaissance,  II  ed.  (Ber- 
tucci.) 


[ 226  ] 


Bertucci 

93.  Madonna  with  the  Little  Saint  John  and  Four  Saints 


C t.TA  • . - ::.;F  THE  JARVES  COLLECTIu.n 


f ienza  din.  His  figures  are  rather  uncouth  and 

T . 3 compositions  reflect  the  perfect  models  of 

Fr:  • m - a ; d J:  i utoricchio 

IP-ml  in  American  Journal  of  Archeology,  1895,  0 . 1 1 3p*gaa.) 

B? reason,  Central  Italian.  Painters  of  the  Btenaiaftaa 

tneei. ; 


[ 226  ] 


ijouTHaS 


a}niB8  wo*  bne  nrloL  JniB8  aWiJ  ^ dim  r,nnobBM 


.ge 


* 


SINIBALDO  IBI 

He  was  born  towards  the  end  of  the  XV  century  and  resided 
chiefly  in  Gubbio.  He  probably  studied  in  Perugino ’s  workshop.  His 
style  is  a weak  derivation  from  that  of  Perugino  and  Pintoricchio. 
In  1507  he  finished  an  altarpiece  for  the  cathedral  in  Gubbio;  in 
1527  he  was  a member  of  the  painter’s  guild  in  Perugia;  in  1528  he 
painted  another  altar-panel  which  is  now  in  the  gallery  at  Perugia. 
The  date  of  his  death  is  unknown. 

93.  THE  BAPTISM  OF  CHRIST 

Saint  John  and  Christ  are  both  standing  in  the  river  that  winds  be- 
tween dark  rocky  banks.  On  each  bank  of  the  river  kneels  an  angel  in  adora- 
tion. Above,  in  the  sky,  appears  God  the  Father  surrounded  by  a glory  of 
cherubs  and  adored  by  two  youthful  angels.  The  picture  has  darkened  and 
suffered  through  restorations.  The  brightest  colors  are  those  in  the  red  and 
yellow  garments  of  the  floating  angels  standing  out  against  the  blue  sky. 
The  two  principal  figures  have  been  painted  over  by  a later  hand;  an 
attempt  to  remove  the  overpaint  proved  that  they  had  been  left  by  the 
original  master  simply  in  drawing  on  the  light  priming.  The  covering  repaint 
was  therefore  not  further  removed. 

Wood.  Cleaned  1915.  H.  21  in.  W.  16  in. 

Old  Catalogue  No.  70.  “Pietro  Perugino.” 

The  composition  is  evidently  a derivation  from  some  pic- 
ture by  Perugino  representing  the  same  motive — possibly  the 
one  now  in  the  gallery  at  Perugia — but  the  execution  is  by  an 
inferior  man.  The  drawing  of  the  figures  is  very  weak  and 
lifeless,  the  mellowness  of  Perugino ’s  creation  has  here  become 
harsh  and  wooden.  The  types  of  the  angels,  which  are  the  most 
original  part  of  the  picture,  are  round  and  insipid;  the  hands 


[ 227  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


shapeless,  with  stumpy  fingers.  Two  artists  might  be  thought 
of  as  possible  producers  of  the  painting : Giannicola  Manni  and 
Sinibaldo  Ibi,  both  third-rate  imitators  of  Perugino.  Manni 
is,  however,  sometimes  a little  superior,  and  as  we  find  in  this 
picture  close  stylistic  correspondences,  particularly  in  the  types 
of  the  angels  and  in  the  treatment  of  the  hands  and  drapery, 
with  the  paintings  by  Sinibaldo  Ibi  in  Perugia  (Sala  XVIII, 
Nos.  27  & 30)  and  in  the  duomo  of  Gubbio,  we  believe  that  we 
cannot  be  far  from  right  in  proposing  Sinibaldo  as  the  most 
probable  author  of  this  little  work.  Its  stylistic  character  is, 
however,  not  so  distinct  as  to  make  an  attribution  absolutely 
confirmatory. 


[ 228  ] 


V 


SlNIBALDO  IBI 
93.  The  Baptism  of  Christ 


CATALOGUE  OF  THE  JARVES  COLLECTION 

shapeless,  with  stumpy  fingers.  Two  artists  might  be  thought 
a s t ossible  producers  of  the  painting : Giannicola  Manni  and 
C b:.iido  Ibi,  both  third-rate  imitators  of  Perugino.  Manni 
how  ve  sometimes  a little  superior,  and  as  we  find  in  this 
picture  close  stylistic  correspondences,  particularly  in  the  types 
of  the  angels  and  in  the  treatment  of  th(  bauds  and  h 
with  the  paintings  by  Sinibaldo  Ibi  in  .-  'r  • O', 

Nos.  27  & 30)  and  in  the  duomo  of  Gubbio,  we  'believe  tha>  we 
cannot  be  far  from  right  in  proposing  Sinibaldo  as  ii  e.v-.; 
probable  author  of  this  little  work.  Its  stylistic  character  is, 
?er,  not  so  distinct  as  to  make  an  attribution  absolutely 
c nfirmatory. 


ml  oajAamiS 


JahriO  lo  raariq^a  9rIT  .86 

[ 228  ] 


NORTH  ITALIAN  AND  VENETIAN  SCHOOLS 
FRANCESCO  BISSOLO 

The  date  of  his  birth  is  unknown ; the  earliest  document  relating 
to  him  is  of  the  year  1492;  at  that  time  Bissolo  was  working  in  a 
subordinate  position  under  Giovanni  Bellini,  in  the  Doge’s  Palace 
in  Venice.  His  companions  were  Marco  Marziale  and  Catena,  all 
second-  or  third-rate  followers  of  Bellini.  Bissolo ’s,  in  particular, 
was  a weak  imitative  talent,  entirely  dependent  on  the  models  he 
had  at  hand.  He  died  in  1554. 


94.  MADONNA  BETWEEN  SAINT  JOHN  THE  BAPTIST 

AND  SAINT  MARY  MAGDALEN 

All  three  figures  are  half  length.  In  front  of  the  Madonna  kneels  the 
donor  of  the  picture  and  his  wife,  seen  only  head  and  shoulders,  in  profile. 
The  Christ  Child  is  blessing  the  kneeling  man.  The  background  is  filled  with 
a hilly  landscape  in  light  blue  tone.  The  Virgin  wears  a blue  mantle  over  a 
red  garment  and  a white  kerchief  on  the  head.  The  Baptist  has  a green 
mantle  thrown  over  one  shoulder,  Mary  Magdalen  has  a deep  red  mantle 
lined  with  blue.  The  general  color-scheme  was  rather  light  and  soft  but  has 
lost  its  freshness  through  restorations. 

Wood.  Cleaned  1915.  H.  25  in.  W.  38%  in. 

Old  Catalogue  No.  79.  “Marco  Basaiti.” 

The  picture  is  far  too  soft  and  mellow  to  be  by  Basaiti, 
who  is  sharper  and  more  definite  in  his  drawing  and  cooler  in 
tone,  and  who  generally  gives  more  individual  character  to  the 
heads.  The  broad,  rounded  types  with  the  large,  dreamy  eyes 
and  the  weak  chin  remind  us  rather  of  Francesco  Bissolo.  If 


[ 229  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


we  choose  for  comparison  his  signed  picture  representing  the 
Circumcision,  in  the  Academy  in  Venice,  we  can  easily  find 
morphological  correspondences  of  a striking  nature.  The 
Virgin’s  type  is  in  both  pictures  the  same  and  Mary  Magdalen 
of  the  Jarves  picture  is  a twin  sister  of  the  young  woman  with 
the  doves  in  the  other  painting.  The  puffy  Child  with  the  ball- 
like head  is  also  identical.  Further  proofs  as  to  the  identity  of 
the  painter  are  offered  by  the  hands  with  the  long  fingers  (see 
particularly  Saint  John’s  thumb!)  and  by  the  form  of  the 
straight  noses  and  the  large  ear  lobes  (see  Mary  Magdalen). 
The  kneeling  donor  is  introduced  in  the  same  position  and  place 
in  both  pictures.  The  quality  of  the  paintings  was  originally 
about  the  same,  but  the  Jarves  picture  has  later  undergone 
careless  treatment  which  has  robbed  it  of  some  of  its  charm. 

Rankin  in  American  Journal  of  Archaeology.  (“A  probable  Bissolo. ”) 


[ 230  ] 


94.  Madonna  between  Saint  John  the  Baptist  and  Saint  Mary  Magdalen 


j/ji/qouutf  pGptGGU  gsnuf  qojju  fpc  g'.rbfjgf  trnq  gsiiuf  )/pri.>.  ]/ja8qajGij 


CATALOG! 


Vi.  HE  JAW  ' COLLECTION 


We  iparieon  Ms  signed  picture  representing  the 

Cin  eu  the  Academy  in  Venice,  we  can  easily  find 

corresi  ; iences  of  . Iking  nature.  The 
Viral:  .-ye  is  in  both  pictures  vC  e c and  Mary  Magdalen 

of  : :.rves  picture  is  a twin,  sister  of  the  young  woman  with 

the  doves  in  the  other  painting.  The  puffy  Child  with.  e 1 &U- 
like  head  is  also  identical..  Further  pr  to  the  identity  of 

nainter  are  offered  by  the  hands  with  the  long  fingers  u--.e 
...  rticularly  Saint  John’s  thumb!)  and  by  the  form  of  the 
ight  noses  and  the  large  ear  lobes  (see  Mary  Magdalen) 
:.,e  kneeling  donor  is  introduced  in  the  same  position  and  place 
i both  ietures.  The  quality  of  the  paintings  was  originally 
. ut  sane  but  the  Jarves  picture  has  later  undergone 
} eles  re&tmenf  which  has  robbed  it  sue  of  its  charm. 


■ f A rck..r‘M 


oa 


s 

> 

SO 


% 


[ 230  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Holy  Family  with  Saint  Sebastian  and  Saint  Catherine,  which 
now  is  recognized  as  one  of  Cariani ’s  principal  works.  It  is 
a work  where  Giorgione’s  lyrical  poetry  is  translated  into  rustic 
prose  and  the  colors  have  become  heated  to  the  melting  point. 
The  picture  offers  important  points  of  resemblance  with  the 
Circumcision  in  the  Jarves  Collection,  particularly  in  the  types 
and  also  in  the  arrangement  of  the  bulging  mantle  folds.  But 
the  Louvre  picture  is  much  more  important,  completely  finished 
and  better  preserved.  Another  picture  in  the  same  collection, 
representing  the  Madonna  and  Saint  Sebastian,  half  length, 
belongs  to  the  same  group,  and  affords  likewise  obvious  corre- 
spondences with  the  Jarves  Circumcision.  We  note  here 
especially  the  movement  of  the  Child,  which  closely  resembles 
the  Baby’s  movement  in  the  Circumcision.  One  more  painting 
by  Cariani — a Madonna  with  Saint  Peter  in  the  Borghese 
Gallery — might  be  recalled  to  strengthen  the  attribution.  Here 
we  find,  among  other  particulars,  the  fat,  well-rounded  hands 
which  also  stand  out  prominently  in  the  Circumcision.  Still, 
the  decisive  proof  for  the  attribution  is  not  to  be  found  in  the 
formal  or  morphological  details,  but  in  the  actual  painting,  the 
somewhat  impure  color-effect  of  burning  orange,  luminous 
green,  red  and  ultramarine,  together  with  the  brownish  tone  of 
the  faces.  This  color-scheme  is  typically  Bergamasque,  and  we 
know  no  man  who  would  be  more  likely  than  Cariani  to  have 
produced  this  sketch. 

Rankin  in  American  Journal  of  Archceology,  1895,  II.  (No  attribution.) 


[ 232  ] 


95.  The  Circumcision  of  Christ 


ATALOG  THE  JARVES  COLLECTION 

amily  with  Saint  Sebastian  and  Saint  Catherine,  which 
recognized  as  one  of  Cariani’s  principal  works.  It  is 
•k  where  Gmrgioue’s  lyrical  ooetiy  is  translated  into  rustic 
■ se  and  the  eohr  •,  have  become  heated  to  the  melting  point. 
The  picture  offers  important  points  of  resemblance  with  the 
i ircumcision  in  the  Jarves  Collection,  parr  ■ K-  vy 

cud  also  in  the  arrangement  of  the  bulgur  But 

tlu  T ouvre  picture  is  much  more  important,  -on - ,■  : m i • ■ 

an  better  preserved.  Another  picture  in  the  same  cobeeuon, 
i renting  the  Madonna  and  Saint  Sebastian,  half  length, 
i s to  the  same  group,  and  affords  likewise  obvious  corre- 
spondences with  the  Jarves  Circumcision.  We  note  here 
especially  the  movement  of  the  Child,  which  closely  resembles 
the  gaby’s  movement  in  the  Circumcision.  One  more  painting 
by  &riani — a Madonna  with  Saint  Peter  in  the  Borgh^se 

*■4?  <5 

CrA II |ryfe— might  be  recalled  to  strengthen  th 
o v or'-'--'*  > ■■ 

i i Ji  1 

c § 

CD 

h ..  iie  paintmg,  the 

& of  burning  orange,  luminous 

:id  ultr  > u-ine,  together  with  the  brownish  tone  of 

> ; s.  This  oior-scheme  is  typically  Bergamasque,  and  we 
fcic no  man  who  would  be  more  likely  than  Cariani  b-.  nave 
pr  .duced  this  sketch. 

Rankin  in  American  Journal  bf  An  ' > -ya.  (K-'  'iUt*ibnti->a./i 


[ 232  ] 


VENETIAN  PAINTER  ABOUT  1510 


96.  A VENETIAN  NOBLEMAN  AND  TWO  WOMEN 

Three  figures  shown  to  the  waist.  The  elderly  man  who  wears  a red 
coat,  green  mantle  and  a black  cap,  approaches  one  woman  and  seems  to 
speak  to  her;  she  is  the  usual  type  of  Venetian  beauty,  with  rich  golden  hair 
and  low-cut  green  garment.  She  leans  her  head  towards  him.  The  other 
woman  is  seen  only  over  the  shoulder  of  the  first  one ; her  hair  is  dark,  and  she 
is  turned  almost  in  profile.  Behind  the  man  are  branches  of  a laurel  tree. 

Transferred  from  wood  to  canvas.  H.  2614  in-  W.  27%  in. 

Old  Catalogue  No.  78.  “Giorgione.”  Said  to  be  “portraits  of  Andrea 
Gritti  and  his  sisters.” 

A definite  attribution  of  this  picture  is  made  impossible  by 
its  very  poor  preservation : it  has  been  crudely  repainted  after 
having  been  transferred  to  canvas.  Judging  from  the  general 
character  of  the  types  and  by  the  arrangement  of  the  figures  it 
seems  to  have  been  the  work  of  a master  of  Palma  Vecchio’s 
following,  active  in  Venice  at  the  beginning  of  the  XVI  century. 


[ 233  ] 


GIROLAMO  DA  SANTA  CROCE 


He  was  born  probably  about  1480,  or  shortly  after,  at  Santa 
Croce  in  the  Bembo  valley,  close  to  Bergamo.  His  training  com- 
menced in  the  workshop  of  Bastiani,  or  of  some  other  old-fashioned 
painter  of  the  same  sort,  but  he  soon  drifted  into  the  school  of 
Giovanni  Bellini;  he  is  mentioned  in  1503  among  Bellini’s  pupils. 
After  Bellini’s  death  he  worked  for  some  time  with  Cima.  He  died  in 
Venice  in  1556.  There  are  a great  number  of  pictures  extant  by 
Girolamo,  dating  from  1520  to  1549,  and  they  are  all  marked  by 
certain  mannerisms  of  drawing  and  color  which  make  the  master 
easily  recognizable. 


97.  SAINT  PETER 

The  standing  figure  is  shown  in  full  length,  slightly  turned  towards  the 
left  but  looking  straight  out  on  the  beholder.  He  holds  the  key  in  his  right 
and  the  book  in  his  left  hand.  The  mantle  is  reddish  with  an  orange  tone  in 
the  light ; the  tunic  under  it  is  blue.  He  stands  on  a floor  paved  with  squares 
of  red  and  white  marble;  the  background  is  formed  by  a light  green  hilly 
landscape,  with  some  buildings  and  trees  in  the  far  distance. 

Canvas  (transferred  from  wood).  H.  54  in.  W.  20)4  iu. 

Old  Catalogue  No.  75.  “Giovanni  Bellini.” 

This  picture,  which  evidently  once  formed  part  of  some 
large  altarpiece,  is  surely  a work  by  Girolamo  da  Santa  Croce, 
though  one  of  the  least  attractive.  The  scale  is  too  large  for 
the  painter ; he  mastered  the  small  figures  much  better  than  the 
large  ones.  Particularly  characteristic  of  the  master  are  the 
rumpled  folds  of  the  mantle,  the  shrub-like  trees  on  the  undu- 
lating hills  and  the  pavement  with  stone  slabs  of  different 


[ 235  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 

colors.  These  same  features  can  be  seen  in  many  of  his  pictures. 
The  heavy,  woodeny  figure  reminds  us  of  one  or  two  of  the 
saints  in  Girolamo ’s  signed  altarpiece  in  Burano  which  is  dated 
1541.  This  Saint  Peter  was  probably  painted  not  much  earlier. 

Rankin  in  American  Journal  of  Archaeology,  1895,  II.  (Bergamasque.) 


[ 236  ] 


•<» 


Girolamo  da  Santa  Croce 


97.  Saint  Peter 


CATALOGUE  OF  THE  JAItVES  COLLECTION 


colors.  These  same  fea hires  can  be  seen  in  many  of  his  pictures. 
The  heavy,  woo  deny  figure  reminds  us  of  one  or  two  of  the 
saints  in  r mo’s  signed  altarpiece  in  Burano  which  is  dated 
1541.  1 \ Saint  Peter  was  probably  • m d not  much  earlier. 

C:  akin  m American  Journal  of  Art. },  •?  Angy,  1695,  II.  (Bergamasque.) 


I 


[ 236  ] 


aooflO  atwaS  aq  omajohiO 


-1019*1  inifig  .Te 


CATALOGUE  OP  THE  JAKVES  COLLECTION 


There  is  no  reason  whatever  to  attach  the  name  of  Yittoria 
Colonna  to  this  portrait ; this  sturdy  and  sedate  matrona  shows 
no  likeness  to  Yittoria ’s  more  intellectual  face. 

The  picture’s  ascription  to  Sebastiano  del  Piombo  is  also 
arbitrary  and  cannot  be  sustained  by  comparison  with  Sebas- 
tiano’s  authentic  works.  By  more  recent  critics  it  has  been 
ascribed  to  Pontormo.  To  us  it  is  neither  Venetian  nor  Floren- 
tine, but  Ferrarese.  Particularly  the  treatment  of  the  back- 
ground, with  broadly  painted  trees  and  shrubs,  in  a greenish 
tone,  is  quite  un-Florentine  and  closely  recalls  Ferrarese  pic- 
tures. The  portrait  may  be  compared  with  two  of  Dosso  Dossi’s 
works  at  Hampton  Court ; a man ’s  portrait,  in  which  the  broad 
construction  of  the  face  and  the  drawing  of  the  mouth  recall 
the  present  picture,  and  a landscape  (with  the  Holy  Family), 
where  one  may  observe  the  same  kind  of  shrubs  and  trees  as  in 
the  background  of  the  Jarves  portrait. 

The  woolly  leafage  and  the  greenish  color-scheme  are  par- 
ticularly characteristic  of  the  Dosso  school.  But  our  portrait 
has  suffered  very  much  by  maltreatment ; the  face  in  particular 
is  badly  rubbed.  It  would  therefore  be  unwise  to  assert  with 
absolute  positiveness  that  it  was  painted  by  Dosso.  It  comes 
very  close  to  him  but  it  might  be  a work  by  a contemporaneous 
follower  of  his. 

Berenson,  Florentine  Painters  of  the  Renaissance,  III  ed.  (Pontormo.) 


[ 238  ] 


School  of  Dosso  Dossi 
98.  Portrait  of  a Lady 


CATALOGUE  OF  THE  . a.iYES  COLLECTION 


There  is  no  r m whatever  to  attach  the  name  of  Yittoria 
Colonna  • .trait;  this  sturdy  and  sedate  matrona  shows 

no- likeness,  to  Yittoria  V more  intellectual 

picture's  ascription  to  ■ bustle  del  Piombo  is  also 
; ; and  cannot  be  sustained  by  c omparhvu  with  Seims- 

authentic  works.  By  more  rtw-.n  uay  been 

; bed  ■ Pontormo.  To  us  it  i.-  ;?*  iriar  V ci.,  turn  u<  ■ Plot  *♦»»• 
but  Perrarese.  Particularly  the;  treatment  of  t be  back- 
ground, .with  broadly  painted  trees  and  shrubs,  in  a greenish 
one,  quite  un-Florentine  and  closely  recalls  Ferrarese  pic- 
ure:  The  portrait  may  he  compared  with  two  of  Dosso  Dossi’s 

wor : t Hampton  Court ; a man’s  portrait,  in  which  the  broad 

eoi  ti  ‘ he  face  and.  the  drawing  of  the  mouth  recall 
..  '..ro.  ■ udsi‘.i|M-  (with  the  Holy  Family), 

- - - and 


, , n . c , . ihb:  imr  y-  Axaat 

r a ,i  . k\w  face  i\.  icular 


j.ere  be  unwise  in  assert  with 
; a-  painted  by  Dosso.  It  comes 
> a,  at  it  might  be  a work  by  a contemporaneous 


>wer  «-/  his. 


Rerer  an,  Florentine  Painters  of  the  Renais&an  r : ti  ed.  ( r •!.*> 


/ 

t 


I880Q  <j>8sSSB  )jo  JOOHog 
TjbfiJ  b to  JimJioa  .86 


'll 


BENEDETTO  CALIARI 


Benedetto  Caliari  was  born  in  Verona  in  1538.  As  a brother 
and  pupil  of  Paolo  Veronese,  Benedetto  soon  became  a co-worker  of 
the  great  master ; we  know  that  already  in  1556  he  was  assisting  his 
brother  in  decorating  San  Sebastiano  in  Venice.  He  died  in  1598. 
Few  individual  works  by  him  are  known;  the  best  are  the  Birth  of 
the  Virgin  in  Vienna  and  Christ  before  Pilate  in  the  Academy  in 
Venice.  After  Paolo  Veronese’s  death  Benedetto  became  the  leader 
of  the  famous  workshop  where  also  Paolo’s  sons  Carlo  and  Gabriele 
were  active.  The  work  was  carried  on  here  on  a manufacturing 
basis;  Benedetto  himself  tells  in  a letter  about  a particular  picture 
(for  Giacomo  Contarini)  that  he  made  the  design,  Carletto  did  the 
underpainting  and  Gabriele  finished  it.  Probably  most  pictures  done 
in  Paolo’s  studio  after  his  death  were  the  result  of  cooperation 
between  his  heirs — “i  eredi  di  Paolo  Veronese.” 


99.  THE  CRUCIFIXION 

Christ  is  hanging  on  a high  Cross  and  represented  on  a somewhat 
smaller  scale  than  the  figures  below,  at  the  foot  of  the  Cross.  The  Virgin  is 
swooning  in  the  arms  of  Saint  John  and  a woman;  Saint  Mary  Magdalen 
stands  embracing  the  shaft  of  the  Cross.  The  two  robbers  on  either  side  of 
Christ  are  partly  cut  off.  The  sky  is  covered  with  a heavy  brown  cloud,  but 
below  the  horizon  is  green,  and  the  city  of  Jerusalem  is  seen  in  the  distance 
in  the  same  cold  light.  The  costumes  of  the  figures  show  brilliant  tones  of 
red,  green,  yellow  and  brown,  but  the  general  color-effect  is  considerably 
impaired  by  restorations. 

Canvas  (relined).  H.  42  in.  W.  34  in. 

Old  Catalogue  No.  109.  “Paolo  Veronese.” 


[ 239  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


Tlie  picture  was  evidently  painted  in  Paolo  Veronese’s 
workshop  and  might  well  have  been  the  result  of  a cooperation 
between  two  or  three  of  the  “eredi  di  Paolo.”  It  does  not  show 
a very  marked  individual  quality  either  in  design  or  color, 
especially  not  in  its  present  state  of  preservation.  But  on  the 
other  hand,  the  connection  with  Benedetto  Caliari’s  Christ 
before  Pilate  in  the  Academy  in  Venice  is  so  close  that  we  feel 
justified  in  attributing  the  picture  to  him.  He  was  probably 
more  responsible  for  the  style  of  the  picture  than  any  of  the 
younger  masters ; he  was  the  head  of  the  bottega. 


[ 240  ] 


PAOLO  FARINATI 


He  was  born  in  Verona  in  1522.  Studied  under  Niccolo  Giolfmo 
and  Antonio  Badile,  influenced  by  Torbido  and  also  by  the  works  of 
Parmegianino  and  Giulio  Romano.  His  works  are  mostly  found  in 
the  gallery  and  in  some  of  the  churches  of  his  native  town.  The  altar 
pictures  are  typical  baroque  compositions  with  the  same  fore- 
shortened figures  in  twisted  positions  which  we  find  in  Tintoretto’s 
decorative  paintings.  Paolo  Farinati  died  in  1606. 


100.  CHRIST  IN  GLORY  APPEARING  TO  SAINT 
PETER  AND  SAINT  PAUL 

In  the  sky  where  the  clouds  divide  Christ  steps  out,  surrounded  by 
music-making  angels,  sitting  on  the  clouds,  and  supported  by  a cherub  under 
His  foot.  Two  angels  are  holding  His  Cross.  He  opens  His  arms  towards  the 
two  apostles  who  are  lower  down  on  the  clouds — Saint  Paul  sitting  and 
Saint  Peter  standing,  his  face  turned  up  towards  Christ  and  at  the  same  time 
pointing  with  his  hands  down  to  the  earth,  as  if  to  plead  for  the  inhabitants 
of  the  village  which  appears  under  the  clouds.  The  color-scheme  is  a harmony 
of  brown,  gray,  yellow  and  different  shades  of  green  and  violet. 

Canvas.  H.  52  in.  W.  25  in. 

Old  Catalogue  No.  110.  “Attributed  to  Veronese.” 

This  picture  shows  correspondences  of  style  and  color  both 
with  Brusasorci’s  and  Farinati ’s  works.  The  atmospheric 
landscape  in  a greenish  gray  tone  under  the  heavy  clouds  re- 
minds us  of  Brusasorci’s  creations,  and  we  would  especially 
draw  attention  to  his  altar-panel  in  San  Pietro  Martire  in 
Verona;  but,  on  the  other  hand,  the  baroque  movements  of  the 
figures  are  somewhat  too  wild  and  bombastic  for  Brusasorci. 


[ 241  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


They  correspond  better  to  what  we  find  in  Farinati’s  altar- 
pieces;  for  instance,  the  Virgin  with  two  Saints  in  San  Tomaso 
in  Verona.  The  little  picture  shows,  however,  Farinati’s  art 
in  a much  more  pleasant  and  attractive  form  than  any  of  his 
large  altarpieces. 

Berenson,  North  Italian  Painters  of  the  Renaissance,  II  ed.  (Farinati.) 

Urr.  4 \jiY(TA&4Ji,  &A'  ’ 

t { ' 


[ 242  ] 


Paolo  Farinati 

100.  Christ  in  Glory  Appearing  to  Saint  Peter 
and  Saint  Paul 


CATALOGUE  OF  THE  JARVES  COLLECT  ; ON 

They  come--  , ,1  better  to  what  we  find  in  Fi.  r’oati’s  altai 
pieces  stance,  the  Virgin  with  two  Saiu.-  \n  San  Tomaso 

j!}  t.  The  little  picture  shows,  h ■ or,  Ea-rati’s  art 

in  a much  more  pleasant  and  attractive  ■ ?m  that  oiv  of  his 
1.  altarpieces. 

Berenson,  North  Italian  Painters  of  the  1 • enaissance.  ; : • win 

Un\.  e|  be  (-  ■'Jf' ' ’ 


/ 


[ 242  ] 

itaviihaI  ojoaU 

i9J9q  }nifi8  Oi  ^nhfiaqqA  ^toIO  ni  lahriO  .001 
inisg  bne 


XVII  CENTURY 


(SEICENTO) 


LATE  ITALIAN  SCHOOLS 


FOLLOWER  OF  MICHELANGELO 
At  the  end  of  the  XVI  century 

101.  THE  HOLY  FAMILY 

The  Virgin,  turned  full  face  and  with  crossed  legs,  is  seated  on  a 
bench.  The  Child  is  sleeping  with  His  head  on  the  knee  of  His  Mother.  She 
lifts  a veil  from  Him  with  the  left  hand  and  holds  with  the  right  an  open 
book  on  the  bench.  At  the  sides  of  the  Madonna,  Joseph  and  the  little  Saint 
John  are  leaning  forward  from  behind  the  bench.  A green  drapery  covers 
most  of  the  background.  Mary  has  a red  garment,  Joseph  an  orange  mantle. 
The  general  color  tone  is  dark. 

Wood.  H.  191/2  in.  W.  16  in. 

Old  Catalogue  No.  105.  “Marcello  Venusti,  probably  after  Michel- 
angelo’s design.” 

The  main  figures  of  this  picture  are  freely  copied  from  the 
vault  of  the  Sistine  Chapel.  A complete  design  by  Michelangelo 
for  the  composition  is  not  known.  It  is  rather  a patchwork  of 
different  parts  borrowed  from  Michelangelo  by  a poor  imitator. 


[ 245  ] 


Guido  Reni 

102.  Venus,  Juno  and  Minerva  with  Cupid 


biquO  rIJrw  svoniM  bins  onul  .aunaV  .SOI 


GUIDO  RENI 


He  was  born  at  Calvezzano  in  1575  and  worked  first  under  Denis 
Calvaert,  later  on  under  the  Carracci  in  Bologna.  He  followed  Anni- 
bale Carracci  to  Rome,  where  he  arduously  studied  the  works  of 
Raphael  and  the  antique.  Guido’s  main  activity  belonged  to 
Bologna — except  for  some  visits  to  Rome  and  Naples — and  here  he 
lived  in  the  fashion  of  a grand  seigneur  and  produced,  in  later  years, 
pictures  in  a more  or  less  commercial  way.  He  died  in  1642. 

102.  VENUS,  JUNO  AND  MINERVA  WITH  CUPID 

The  three  goddesses  are  seated,  cut  off  below  the  knees.  Juno,  who  is 
sitting  in  the  centre,  holds  the  little  Cupid  on  her  knee;  Venus  has  taken  his 
bow,  which  he  in  vain  is  trying  to  reach  with  his  short  arms.  Minerva  sits 
on  the  other  side  of  Juno,  and  is  pulling  an  arrow  out  of  Cupid’s  quiver. 
She  wears  a steel  armor  and  holds  a spear  in  her  left  hand;  the  two  other 
goddesses  wear  white  skirts,  which  fall  from  below  the  breasts,  and  mantles 
draped  over  their  legs:  Venus  is  in  blue,  Juno  in  yellow,  Minerva  in  red.  The 
background  is  black ; the  flesh  color  of  the  goddesses  is  very  pale,  Cupid  is 
rosy. 

Canvas  (relined).  Richly  carved  baroque  frame.  H.  50  in.  W.  65y2  in. 

Old  Catalogue  No.  113.  “Guido  Reni. ” 

The  picture  is  probably  a late  and  somewhat  damaged  work 
by  Guido.  The  types  with  the  long  noses  and  the  low  foreheads 
are  very  characteristic  of  him,  and  so  are  the  negligee  costumes. 
But  the  color-effect  was  originally  softer  and  lighter ; it  has  been 
impaired  by  relining  and  restoration. 


[ 247  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


103.  SAINT  JOSEPH  HOLDING  THE  INFANT  CHRIST 

Half  length  figure;  he  is  slightly  turned  towards  the  left  and  bends 
forward  over  the  Child  in  his  arms.  The  picture  is  only  lightly  sketched  with 
brown,  gray  and  greenish  tones. 

Wood.  H.  10y2  in.  W.  7*4  in. 

Old  Catalogue  No.  112.  “Guido  Reni.”  The  picture  is  said  to  come 
from  the  Gerini  Gallery  of  Florence. 

Tliis  very  lightly  painted  sketch  is  in  the  style  of  Guido, 
but  too  feeble  to  be  his  own  work.  It  was  evidently  done  by  an 
imitator. 


[ 248  ] 


ARTEMISIA  GENTILESCHI  ( ?) 


She  was  the  daughter  and  disciple  of  the  painter  Arazio  Gen- 
tileschi,  born  in  Rome  in  1590.  She  accompanied  her  father  to 
England,  where  she  painted  some  portraits  of  the  nobility  and  some 
historical  pictures  for  the  king,  but  the  main  part  of  her  life  she 
passed  in  Naples  and  in  Bologna.  Artemisia  was  a friend  and 
student  of  Guido  Reni  and  Domenichino.  She  died  in  1642. 


104.  ARTEMISIA,  WIDOW  OF  MAUSOLUS,  KING  OF 
CARIA 

She  is  in  the  act  of  mingling  the  ashes  of  her  husband  with  wine. 
(According  to  history  she  swallowed  this  mixture.)  She  is  seen  to  below  the 
waist,  sitting  at  a table  on  which  stands  a carved  marble  urn  with  the  ashes  of 
her  husband.  In  her  left  hand  she  holds  a crystal  cup,  into  which  she  evi- 
dently has  just  thrown  the  ashes  with  the  right  hand.  Her  dress  is  sumptu- 
ous; she  wears  a low-cut,  embroidered  green  bodice  and  an  orange-colored 
mantle.  The  rich,  dark  hair  is  arranged  by  means  of  ribbons  and  pearl- 
strings  in  the  form  of  a turban.  Dark  background. 

Canvas  (relined).  Richly  carved  original  frame.  H.  4514  in.  W.  3514 
in. 

Old  Catalogue  No.  114.  “Domenichino.” 

A comparison  with  Artemisia’s  famous  picture  in  the  Pitti 
Gallery  in  Florence,  representing  Judith  and  her  maid,  reveals 
striking  correspondences  both  in  the  general  character  of  the 
figures  and  in  the  treatment  of  the  costumes,  though  the  Pitti 
picture  stands  a little  higher  in  quality. 

The  figures  have  a certain  air  of  sensual  morbidezza;  the 
style  is  flaccid,  the  forms  have  a tendency  towards  floating 


[ 249  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


broadness.  The  warm  and  rich  color-effect  supports  well  the 
emotional  conception.  The  painter’s  dependence  on  Domeni- 
chino  is  also  revealed  by  the  composition,  which  recalls  the 
master’s  well-known  Cumaean  Sibyl  in  the  Borghese  Gallery. 

One  is  tempted  to  suppose  that  Artemisia  Gentileschi  has 
made  a portrait  of  herself,  under  the  disguise  and  in  the  opulent 
costume  of  the  queen  with  the  same  name,  but  the  supposition 
can  hardly  be  proved  by  a comparison  with  her  well-known 
self-portrait  in  the  Hampton  Court  gallery,  because  there  the 
face  is  given  much  foreshortened  and  in  profil  perdu.  Besides 
that,  the  present  picture  is  of  later  date. 


[ 250  ] 


ALESSANDRO  TIARINI 


He  was  born  in  Bologna  in  1577 ; studied  here  under  Prospero 
Fontana  and  Bartolommeo  Cesi.  As  he  later  had  to  fly  from  Bologna 
to  Florence,  he  worked  there  under  Passignano.  He  returned  soon 
to  Bologna  and  died  in  1668. 

105.  MATER  DOLOROSA 

The  Virgin  stands  full  face  holding  the  crown  of  thorns  with  both  hands. 
She  is  seen  to  the  waist  and  wears  a green  mantle  and  a brown  kerchief  on 
her  head. 

Canvas.  Richly  carved  baroque  frame.  H.  34  in.  W.  27  in. 

Old  Catalogue  No.  115.  “Unknown  painter.” 

This  excessively  sentimental  and  grave  picture  recalls  both 
through  its  motive  and  its  loose  style  the  works  of  Tiarini.  If 
not  actually  by  him,  it  must  have  been  painted  by  some  contem- 
poraneous Bolognese  master  of  the  same  group. 


[ 251  ] 


Italian  Painter  from  Latter  Part  of  the  XVII  Century 
106.  Portrait  of  Pope  Clement  IX 


YHUTvraO  IIYZ  hht  to  tha<I  otttaJ  moot  httoia*!  waijatI 

XI  JnamalO  oqo*!  1o  .901 


ITALIAN  PAINTER  FROM  LATTER  PART  OF  THE 

XVII  CENTURY 

106.  PORTRAIT  OF  POPE  CLEMENT  IX 

Head  and  shoulders  only  appear,  slightly  turned  towards  the  right.  He 
wears  a cape  of  red  velvet,  trimmed  with  a border  of  white  fur  and  a cap  of 
the  same  stuff;  soft  white  collar.  Gray  chin-beard  and  moustache. 

Canvas.  H.  26y2  in.  W.  21  in. 

Old  Catalogue  No.  76.  “Unknown  painter  of  the  Venetian  School  circa 
1430.”  ( ?)  Said  to  represent  Pope  Clement  VIII. 

This  is  a free  repetition  of  Carlo  Maratta’s  portrait  of 
Pope  Clement  IX,  of  which  probably  several  replicas  existed ; 
one  of  the  best,  a portrait  in  knee  length,  is  now  in  the  Hermit- 
age in  Saint  Petersburg;  a smaller  one  is  in  the  Metropolitan 
Museum  in  New  York. 


[ 253  ] 


GENOVESE  PAINTER  FROM  THE  LATTER  PART 
OF  THE  XVII  CENTURY 


107.  PORTRAIT  OF  A MILITARY  COMMANDER 

Full  length,  standing  turned  towards  the  left.  He  holds  the  com- 
mander’s baton  in  the  right  hand,  resting  it  on  the  ground,  the  left  hand  on 
his  hip.  He  wears  a cuirass,  with  a broad  red  scarf,  yellow  buffcoat,  red 
trousers  and  top  boots.  The  background  is  formed  by  a slightly  sketched 
hilly  landscape  and  the  grayish  sky. 

Canvas.  H.  75^  in.  W.  59Yo  in. 

Old  Catalogue  No.  116.  “Spanish  School — Diego  Velasquez.” 

The  picture  is  clearly  Italian,  but  has  very  little  distinct 
local  character.  It  is  by  an  eclectic  painter  who  knew  the 
Spanish  as  well  as  the  Venetian  masters  of  portraiture,  but 
who  evidently  worked  in  more  provincial  surroundings,  possibly 
in  Genoa. 


[ 255  ] 


NON-ITALIAN  SCHOOLS 


ITALO-BYZANTINE  SCHOOLS 


BYZANTINE  PAINTER 
From  the  XIV  century,  possibly  active  in  Italy 

108.  SAINT  GEORGE  KILLING  THE  DRAGON 

The  young  saint  wears  a richly  gilded  armor  and  a red  mantle  flutter- 
ing in  the  wind ; he  is  riding  on  a white  horse,  which  is  rearing  over  a dragon. 
He  thrusts  his  long  spear  into  the  open  jaws  of  the  crawling  animal.  Gold 
ground.  At  the  top  of  the  picture  is  an  inscription:  0 ’AGIOS  GEORGIOS. 
Wood.  Said  to  he  painted  with  encaustic  colors.  H.  10  in.  W.  7 y8  in. 
Old  Catalogue  No.  6.  “Unknown  painter.” 

This  figure  is  purely  Byzantine,  showing  no  influence  of 
Italian  trecento  art ; that  does  not,  however,  absolutely  prevent 
it  from  having  been  executed  in  Italy.  It  is  scarcely  older  than 
from  the  end  of  the  trecento,  and  it  might  date  from  the  follow- 
ing century.  The  same  conventionalized  design  is  continued 
during  two  or  three  centuries  by  the  Byzantine  painters. 


ITALO-BYZANTINE  PAINTER 


About  the  beginning  of  the  XV  century- 

109.  THE  NATIVITY 

The  manger  with  the  Child  is  placed  in  a grotto.  At  the  entrance  of 
this  cave  the  Virgin  kneels  in  adoration  and  Joseph  is  sitting  lower  down  in 
the  right-hand  corner.  A little  shepherd  appears  in  the  opposite  corner  and 
an  angel  floats  over  the  mountain.  Brownish  color  tone.  The  Virgin’s 
mantle  is  red.  All  the  detail  forms  are  outlined  with  black  contours.  The 
technique  is  very  crude. 

Wood.  H.  8%  in.  W.  7 in. 

Old  Catalogue  No.  2.  “An  unimportant  picture,  except  for  the  rarity 
of  such  works  in  Europe  ( ?)  ; one  of  thousands  executed  by  Grecian  painters, 
or  their  Italian  pupils,  about  the  twelfth  century.” 

This  poor  little  picture  is  evidently  the  work  of  some 
Byzantine  master  who  was  influenced  by  Italian  trecento  art, 
and  possibly  himself  worked  in  northern  Italy.  The  picture 
has  darkened  somewhat  but  is  as  a whole  well  preserved. 


[ 261  ] 


ITALO-BYZANTINE  PAINTER 


From  the  beginning  of  the  XV  century 

110.  MADONNA  AND  CHILD 

The  Madonna  is  shown  in  half  length,  slightly  turned  towards  the  right. 
She  seems  to  be  sitting,  though  in  a rather  incomprehensible  position,  because 
her  left  knee  is  raised  forming  a support  for  the  Child  who  sits  with  crossed 
legs  performing  the  ritual  benediction  with  His  right  hand  and  holding  a 
globe  in  His  left.  His  costume  is  green  and  red  with  broad  gold  stripes ; the 
Virgin  wears  a red  mantle  over  a green  garment  with  gold  ornaments.  Gold 
ground.  At  the  sides  of  the  Madonna’s  head  is  the  inscription:  MATER 
FEOI  (The  Mother  of  God). 

Wood.  H.  18%  in.  W.  14%  in. 

Old  Catalogue  No.  10.  “Late  work  in  the  pseudo-Byzantine  style  fol- 
lowed by  the  feeble  thirteenth  century  painters  whose  abler  contemporaries 
had  created  a new  style  for  Italy.” 

This  Madonna  recalls  the  ikons  which  used  to  be  attributed 
to  Rico  da  Candia,  though  the  picture  is  really  somewhat  poorer 
in  quality  and  more  puerile  in  drawing  than  Rico’s  signed 
works.  The  Virgin  in  particular  is  quite  wooden;  the  Child 
reveals  a little  more  life.  The  picture  was  probably  painted  in 
Italy. 


[ 263  ] 


ITALO-BYZANTINE  PAINTER 

XV  century 

111.  THE  ANNUNCIATION 

The  Virgin  stands  before  her  throne,  which  is  covered  with  a canopy ; 
she  turns  half  away  from  the  angel  who  comes  tripping  from  the  left,  raising 
the  right  hand  as  he  speaks  and  holding  a lily  in  the  left.  Over  the  angel’s 
head  is  written,  in  Greek  characters:  GABRIEL;  and  over  the  Virgin’s 
throne:  0 EVAGELISMOS  (The  good  message).  Gold  ground,  darkened 
color. 

112.  MIRACULOUS  APPARITION  OF  SAINT  MERCU- 
RIUS  AND  SAINT  CATHERINE 

To  the  right  stands  Saint  Mercurius,  trampling  with  one  foot  on  the 
prostrate  figure  of  the  Emperor  Julian  and  thrusting  him  with  his  javelin. 
(According  to  the  legend  the  officer  Mercurius  was  put  to  death  by  the 
Emperor  for  adherence  to  Christian  faith,  but  appeared  to  Julian  during  his 
last  battle  and  threw  the  javelin  which  killed  the  Emperor.)  Opposite 
Mercurius  stands  Saint  Catherine,  trampling  on  the  Emperor  Maxentius,  her 
tormentor,  and  thrusting  a javelin  into  him.  She  holds  a cross  and  the  palm 
of  martyrdom  in  her  other  hand.  Above  is  Christ  in  the  attitude  of  blessing. 
The  names  of  the  saints  and  the  emperors  in  Greek  characters  are  written  over 
their  heads.  At  the  sides  of  Christ  are  the  words:  DIKAIOS  KRITES  (The 
Just  Judge).  Gold  ground,  darkened  colors. 

Wood.  Each  H.  9%  in.  W.  7 y2  in. 

Old  Catalogue  Nos.  8 and  9.  “Well  preserved  specimens  of  the  later 
Byzantine  work,  probably  of  the  thirteenth  century.  ’ ’ 

These  two  pictures  are  hardly  earlier  than  the  XY 
century  and  were  probably  done  by  a man  who  has  been  in 


[ 265  ] 


CATALOGUE  OF  THE  JARVES  COLLECTION 


contact  with  Italian  art  though  his  style  is  purely  Byzantine. 
He  is  not  the  artist  who  painted  the  triptych  described  below. 
See  further  note  to  next  number. 

113.  THE  DESCENT  OF  CHRIST  INTO  LIMBO;  THE 
TRANSFIGURATION;  AND  THE  HISTORY  OF 
MOSES 

Small  portable  polyptych.  The  central  picture  shows  Christ  in  an 
aureole,  standing  on  a cross  over  a mountain  cave  in  which  Satan  lies  bound 
with  keys  and  chains.  Christ  extends  His  hands  to  a kneeling  man  and  woman 
(Adam  and  Eve?)  ; behind  these  are  seen  two  more  figures  on  each  side. 
Over  Christ’s  head  are  written  the  letters  IC  XC  (the  abbreviation  of  His 
Greek  name),  and  higher  up,  also  in  Greek  letters,  “The  Resurrection  of 
Christ.” 

On  the  left  wing  is  represented  the  Transfiguration.  Christ,  Moses 
and  Elias  stand  on  three  mountain  peaks  close  to  each  other;  at  the  foot  of 
the  mountains  the  three  apostles  are  falling  down  on  their  faces,  frightened 
and  dazzled  by  the  rays  of  light  which,  emanate  from  Christ.  These  figures 
are  almost  like  frogs  in  their  grotesque  movements.  Christ  is  surrounded  by 
an  oval  aureole,  but  on  this  is  painted  another  in  the  form  of  an  arrowhead. 
Aureoles  of  this  form  appear  sometimes  in  Byzantine  representations  of  the 
Transfiguration,  but  they  usually  have  three  points  down  and  may  be  derived 

from  an  aureole  of  this  pattern  which  also  appears  in  Byzantine  pictures. 
This  information  has  been  kindly  communicated  by  Professor  J.  J.  Tikkanen. 

On  the  right  wing  several  scenes  from  the  history  of  Moses  are  repre- 
sented, all  united  in  a rocky  landscape:  1.  Moses  and  the  Burning  Bush; 
2.  (below)  The  Camp  of  the  Israelites  and  a Starting  Caravan;  3.  (right- 
hand  corner)  The  Passing  of  the  Red  Sea;  4.  Moses  Smiting  the  Rock;  5. 
Worship  of  the  Golden  Calf ; 6.  Moses  Receiving  the  Tablets  of  the  Law  on 
Mount  Sinai ; 7.  The  Burial  of  Moses.  The  different  scenes  are  executed  with 
extraordinary  minuteness,  like  book  illustrations. 

Wood.  Cleaned  1915.  H.  9%  in.  W.  19  in. 

Old  Catalogue  No.  7.  “This  small  triptych  of  five  (?)  pictures  is  an 
excellent  and  well-preserved  specimen  of  the  later  Byzantine  work,  probably 
of  the  thirteenth  century.” 


[ 266  ] 


'w 


v 


aaaoM  to  ^-ioJgiH  aril  fans  ; noijjriu^ftgn/nT  arlj  ;odmiJ  otrir  JahrlO  to  Jno'jgad  arIT 


1 ' * i;he  jarves  collection 

» .u  art  though  liis  style  is  purely  Byzantine. 
/ artist  who  painted  the  triptych  described  below, 
/her  note  to  next  number. 

THE  DESCENT  OF  CHRIST  INTO  LIMBO;  THE 
TRANSFIGURATION;  AND  THE  HISTORY  OF 

MOSES 

Small  portable  polyptych.  The  central  picture  shows  Christ  in  an 
aureole,  standing  on  a cross  over  a mountain  cave  in  which  Satan  lies  bound 
with  keys  and  chains.  Christ  extends  His  hands  to  a kneeling  man  and  woman 
(Adam  and  Eve?)  ; behind  these  are  seen  two  more  figures  on  each  side. 
Over  Christ’s  head  are  written  the  letters  IC  XC  (the  abbreviation  of  His 
Greek  name),  and  higher  up,  also  in  Greek  letters,  “The  Resurrection  of 

0 - 

^ ing  is  represented  the  Transfiguration.  Christ  M sea 

^5  1 -v  (■!  SC 

s 

1 

Vj 

o 

> representations  of  the 

J have  tl  < w rts  down  and  may  be  derived 

aureoh  t s pattern  <Tf>  which  also  appears  in  Byzantine  pictures. 

L~V~l 

. if  or  m a ; n has  been  kindly  communicated  by  Professor  J.  J.  Tikkanen. 
On  the  right  wing  several  scenes  from  the  history  of  Moses  are  rep  re- 
nted, all  united  in  a rocky  landscape:  1.  Moses  and  the  Burning  Bush; 
2.  (below)  The  Camp  of  the  Israelites  and  a Starting  Caravan;  right- 
hand  corner)  The  Passing  of  the  Red  Sea;  4.  Moses  So  b:  c Rock;  5. 

co  Worship  of  the  Golden  Calf;  6.  Moses  Receiving  the  Tablets  of  the  Law  on 
Mount  Sinai;  7.  The  Burial  of  Moses.  The  different  semes  are  executed  with 
extraordinary  minuteness,  like  book  illustrations. 

Wood.  Cleaned  1915.  H.  93,4  in.  W.  19  in. 

Old  Catalogue  No.  7.  “This  small  triptych  of  five  (?)  pictures  is  an 
excellent  and  well-preserved  specimen  of  ae  later  Byzantine  work,  probably 
of  the  thirteenth  century.” 


[ 266  ] 


ITALO-BYZANTINE  PAINTER 


The  supposition  that  the  three  panels  of  this  triptych  and 
the  two  pictures  described  above  (Nos.  Ill  and  112)  originally 
formed  together  a polyptych  is  hardly  sustainable.  The  style 
of  the  paintings  is  not  exactly  the  same ; the  triptych  is  a subtler 
and  freer  work  of  art  than  the  Annunciation  and  its  companion 
piece.  These  two  pictures  are  probably  of  somewhat  earlier 
date.  Still,  it  is  evident  that  they  have  been  kept  together 
in  some  way,  because  they  have  corresponding  frames  and  the 
panels  are  cut  in  the  same  way,  with  arched  tops.  These  frames 
are  evidently  Italian  and  seem  to  date  from  the  early  part  of 
the  XVI  century,  though  they  might  have  been  done  later  after 
old  models.  We  have  seen  similar  frames  on  other  Byzantine 
pictures  of  the  XV  century,  but  we  have  not  had  the  opportunity 
of  making  a detailed  study  of  this  question. 

There  are  other  Byzantine  pictures  illustrating  the  story 
of  Moses  in  much  the  same  way  as  the  right  wing  of  this  very 
interesting  triptych;  a good  example  can  be  seen,  for  instance, 
in  the  museum  in  Geneva. 


[ 267  ] 


DUTCH  AND  FLEMISH  SCHOOLS 


MARINUS  VAN  ROYMERSWAELE 

This  painter  was  also  called  Marinus  de  Seeuw  or  Marinus  de 
Siressa.  He  was  horn  in  Zeeland  in  1497  and  studied  painting  under 
Simon  van  Daele  in  Antwerp.  His  works  are  often  confused  with 
those  of  Quinten  Massys,  and  he  is  best  known  through  several 
representations  of  the  popular  motive,  The  Money-changers.  The 
dates  on  pictures  by  Marinus  range  from  1521  to  1560.  He  is  sup- 
posed to  have  died  in  1567. 


114.  HEAD  OF  THE  DEAD  CHRIST 

The  gaunt  head  with  sunken  cheeks,  deep-set,  closed  eyes  and  open 
mouth  is  leaning  backwards.  The  thin  brownish  hair  lies  tight  on  the  temples, 
the  forehead  is  marked  with  stains  of  blood  caused  by  the  crown  of  thorns. 
At  either  side  of  the  head  are  slight  indications  of  a landscape  in  green 
tone ; the  rest  of  the  background  is  black.  The  face  and  the  neck  have  a 
brownish  yellow  tone.  Traces  of  an  inscription  are  recognizable  on  the  right 
shoulder. 

Wood.  Cleaned  1915.  Circular  form.  Diam.  11  in. 

Old  Catalogue  No.  117.  “German  School — Albert  Diirer.” 

This  little  circular  panel  has  probably  once  formed  part  of 
some  larger  composition,  possibly  of  the  frame  of  an  altar 
tabernacle.  The  light  brownish  tone  of  the  panel  is  almost 
suggestive  of  varnished  wood. 

The  attribution  to  van  Roymerswaele  was  once  suggested  to 
the  author  by  Dr.  W.  Yalentiner,  and  there  can  be  little  doubt 
that  it  is  right.  The  head  shows  the  closest  correspondence  with 


[ 269  ] 


CATALOGUE  OP  THE  JARVES  COLLECTION 


van  Roymerswaele ’s  Madonna  in  the  Prado  Museum  in  Madrid, 
a picture  which,  like  the  present  one,  also  has  been  honored  by 
the  name  of  Diirer.  Both  pictures  must  be  reckoned  among  the 
artist’s  most  attractive  creations;  they  show  a refinement  of 
drawing  and  color  which  is  hardly  found  to  the  same  degree  in 
his  more  popular  pictures. 


* 


% 


Marinus  van  Roymerswaele 
114.  Head  of  the  Dead  Christ 


CATALOGUE  OF  THE  JAKVES  COLLECTION 

van  Roymerswaele  7s  Madonna  in  the  Prado  Museum  in  Madrid, 
a picture  which,  like  the  present  one,  also  has  been  honored  by 
the  name  of  Diirer.  Both  pictures  must  be  reckoned  among  the 
artip  s cost  attractive  creations;  they  show  a refinement  of 
drc  g and  color  which  is  hardly  found  to  the  same  degree  in 
his  more  popular  pictures. 


3J3AWgH3MYofl  WAV  BUWIHaM 


JghdO  bBaQ  aril  1o  &B9H  ail 


[ 270  ] 


CORNELIS  ENGELBRECHTSZ 


He  was  born  in  Leiden,  Holland,  1468,  and  died  in  the  same  city 
in  1533.  Engelbrechtsz  is  of  the  greatest  historical  importance  as 
the  founder  of  the  school  of  Leiden.  Most  prominent  among  his 
pupils  was  Lucas  van  Leiden;  indeed,  the  master  and  the  pupil  are 
often  so  like  each  other  in  their  paintings  that  they  have  been  con- 
founded. Generally  speaking,  however,  Engelbrechtsz  is  somewhat 
slacker  in  his  drawing  than  Lucas  van  Leiden ; his  figures  are  taller, 
with  smaller  heads  than  those  of  the  younger  master;  his  color- 
scheme  is  less  delicate. 


115.  THE  PROCESSION  TO  CALVARY 

In  the  middle  distance  the  long  procession,  consisting  of  spearmen  and 
the  mob,  advances  slowly.  Christ  has  fallen  under  the  burden  of  His  Cross 
and  is  being  forced  by  soldiers  to  arise.  On  a higher  level  in  the  foreground 
stand  two  groups  of  spectators,  to  the  right  three  women  with  their  children, 
deeply  depressed  and  frightened  by  what  they  see ; to  the  left,  some  old  men 
looking  curiously  at  the  spectacle  from  behind  a tree.  In  the  background  rises 
the  Calvary  hill  with  Christ  and  the  two  robbers  crucified.  At  the  side  of 
the  hill  opens  an  extensive  view  with  the  city  of  Jerusalem  at  the  foot  of  high 
mountains. 

Wood.  H.  12  in.  W.  17  in. 

Old  Catalogue  No.  119.  “Dutch  School — Pieter  Brueghel.” 

This  picture  is  a fine  and  characteristic  specimen  of  Corne- 
lis  Engelbrechtsz’  art.  It  is  done  in  his  very  fluent  technique; 
the  drawing  of  the  figures  is  spirited  and  expressive,  some  of 
the  types  almost  bordering  on  caricature.  The  gay  and  varie- 
gated colors  in  the  foreground  figures,  which  have  green,  white, 


[ 271  1 


CATALOGUE  OF  THE  JARVES  COLLECTION 


red  and  blue  dresses,  are  also  very  characteristic  of  the  painter. 
The  middle  distance  is  darker  in  tone,  the  background  bluish 
green.  The  picture  is  as  a whole  of  remarkably  good  quality 
for  Engelbrechtsz. 


[ 272  ] 


Corn elis  Engelbrechtsz 


C ATALOGUE  OP  THE  JARVES  COLLECTION 

red  and  blue  dresses,  are  also  very  characteristic  of  the  painter. 
The  middle  distance  is  darker  in  tone,  the  background  bluish 
°-reen.  The  picture  is  as  a whole  of  remarkably  good  quality 
for  EngelbrecMsz. 


FLEMISH  PAINTER  OF  THE  XVII  CENTURY 


116.  PORTRAIT  OF  EMPEROR  CHARLES  V 

Head  and  shoulders  only  are  shown,  three  quarters  to  the  right.  He  has 
a black  cap  and  a black  coat  with  soft  white  collar,  and  wears  the  order  of 
the  Golden  Fleece.  Green  background. 

Wood.  H.  17%  in.  W.  12%  in. 

Old  Catalogue  No.  118.  “German  School — Hans  Holbein.” 

This  is  a late  and  weak  copy  of  a contemporaneous  portrait 
of  Charles  V by  some  Flemish  painter.  The  well-known  fea- 
tures of  the  Emperor  have  become  flaccid  and  the  expression  is 
quite  dull.  The  painting  has  no  individual  merit. 


[ 273  ] 


FLEMISH  PAINTER 


Latter  part  of  the  XVI  century 
117.  VENAL  LOVE 

A woman  in  deep-cut  white  dress  embraces  an  old  man  in  red  costume, 
who  is  in  the  act  of  taking  some  money  out  of  the  purse  at  his  belt.  Further 
to  the  right  stands  a young  man  with  a black  cap  on  his  head  looking  smilingly 
on  the  woman,  and  in  front  of  him  Cupid  breaks  his  bow  against  his  knee. 
All  the  figures  are  half  length.  In  the  dark  background  one  can  barely  dis- 
tinguish the  trunk  and  boughs  of  a large  tree. 

Canvas.  H.  39%  in.  W.  16%  in. 

Old  Catalogue  No.  111.  “Agostino  Carracci.” 

According  to  the  catalogue  this  picture  “comes  from  the 
gallery  of  Baron  von  Bodenfeld  (in  Bohemia),  where  it  was 
called  a Titian.”  This  honor  was,  of  course,  still  more  unde- 
served than  the  attribution  to  Agostino  Carracci.  The  latter  is 
explained  by  the  fact  that  a somewhat  similar  composition 
appears  in  an  engraving  by  Agostino  Carracci  (Bartsch,  No. 
114) , but  this  engraving  is  not  done  after  the  painting ; the  rela- 
tion is  reversed,  the  picture  having  been  inspired  by  the  engrav- 
ing; it  was  not  done  by  an  Italian  painter  but  by  a Flemish 
Romanist  who  has  lost  himself  in  admiration  of  Carracci’s 
academic  mannerism. 


[ 275  ] 


SPANISH  PAINTER 


Second  half  of  the  XVII  century 

118.  THE  VIRGIN  IN  THE  EGG  ADORED  BY  TWO 
SAINTS 

The  Virgin  stands,  with  hands  joined  in  prayer,  in  a broken  eggshell, 
which  is  supported  by  cherubs.  God  the  Father  appears  above,  between  the 
dividing  clouds,  surrounded  by  cherubs.  He  holds  a large  globe  and  points 
with  the  other  hand  to  the  Virgin.  Two  saints,  Saint  Francis  and  a cardinal, 
kneel  at  the  feet  of  the  Virgin.  The  colors  are  gay;  green,  pink  and  gray 
being  the  principal  tones. 

Wood.  H.  26  in.  W.  21  in. 

Old  Catalogue  No.  88.  “ Albertinelli.  ” 

The  picture  is  evidently  not  Italian  but  Spanish.  Its  na- 
tionality is  clearly  enough  proved  by  the  rather  glaring  colors. 
The  motive,  with  the  speculative  allusion  to  the  conception  and 
the  mission  of  the  Virgin,  is  also  treated  in  a way  more  in  con- 
formity with  the  late  Spanish  than  with  the  Italian  art.  But 
the  painter  was  of  very  mediocre  talent  and  has  hardly  acquired 
a name  in  the  history  of  Spanish  art.  This  performance  surely 
does  not  entitle  him  to  any  such  honor. 


[ 277  ] 


UNKNOWN  PAINTER 


About  the  middle  of  the  XIX  century 

119.  THE  DEAD  CHRIST  SUPPORTED  BY  JOSEPH  OP 
ARIMATHEA 

The  Virgin  and  Saint  John  kneel  on  either  side.  Landscape  background. 

Wood.  H.  28  in.  W.  22  in. 

Old  Catalogue  No.  89.  “Raphael." 

The  catalogue  adds  the  following  note  to  the  unusually 
complete  description  offered  of  this  picture.  “It  was  taken 
from  a villa  of  the  Chigi  family,  the  head  of  which,  in  the  time 
of  Raphael,  was  the  great  banker  of  that  name,  his  friend  and 
patron.  ’ ’ 

This  statement  is  evidently  offered  in  order  to  make  the 
daring  attribution  more  plausible,  whether  in  good  faith  or  not, 
we  do  not  know.  But  it  means,  to  the  critic  who  has  some  ex- 
perience about  old  Italian  art,  no  more  than  the  eulogies  pub- 
lished in  Jarves’  “Art  Studies,”  where  the  picture  is  engraved. 
None  of  the  highly  appreciative  pronouncements  of  the  authori- 
ties who  have  passed  upon  this  picture  can  conceal  the  fact  that 
the  painting  was  done  in  the  XIX  century,  probably  on  the 
model  of  some  work  by  Perugino.  An  examination  of  the 
colors  by  a technical  expert  confirmed  our  judgment  that  the 
picture  is  a modern  forgery. 


[ 279  ] 


ADDENDA 


Page  96;  line  21.  As  said  above,  the  picture  is  a fragment  sawn 
out  of  a larger  panel,  and  we  have  lately  found  nine  more  parts  from 
the  same  panel,  representing  various  scenes  from  the  lives  of  the 
Hermits,  of  the  Thebaid,  in  the  Christ  Church  Library  at  Oxford. 
These  pictures  were  bought  by  the  poet  Walter  Savage  Landor  in 
Florence  about  1820-1830  and  appear  in  the  new  catalogue  as  Nos. 
21-29,  “Florentine  School,  early  XV  Century.’ ’ They  are  in  part 
much  repainted  and  some  of  them  have  been  enlarged  by  the  adding 
of  new  pieces  at  the  sides. 

Page  100;  line  14.  Another  piece  from  the  same  predella,  repre- 
senting Saint  Nicholas  saving  three  youths  from  being  beheaded, 
was  formerly  in  the  Toscanelli  Collection  in  Florence. 

Page  176 ; line  6.  A slightly  different  version  of  the  same  compo- 
sition is  in  the  Morelli  Collection  in  Bergamo.  It  is  also  attributed 
to  Fiorenzo  but  seems  to  be  by  a weaker  hand  than  the  present 
picture. 


INDEX 


INDEX 


Actaeon  and  the  Hounds  (cassone) 
[No.  48],  Jacopo  del  Sellajo,  131. 

Adoration  of  the  Magi  [No.  15], 

Orcagna,  41. 

Adoration  of  the  Magi  [No.  61], 

Sano  di  Pietro,  158. 

Adoration  of  the  Magi  [No.  69], 

Luca  Signorelli,  177. 

Adoration  of  the  Magi  [No.  81],  Bat- 
tista Naldini,  203. 

Agony  in  the  Garden,  The  [No.  32], 
Manner  of  Andrea  di  Giusto,  81. 

Albertinelli,  Mariotto,  187,  195,  197, 
277. 

Albertini,  51. 

Allori,  Alessandro,  209,  210,  211. 

Allori,  Alessandro,  School  of,  200. 

Altar  Wings  [Nos.  27  and  28],  Lo- 
renzo di  Niccolo,  72. 

Ambrogio  di  Baldese,  55,  57-62. 

“American  Journal  of  Archaeology.” 
( See  Rankin.) 

Andrea  di  Cione,  called  Orcagna, 
39-42,  43,  44,  45,  47,  48,  49. 

Andrea  di  Giusto,  79,  80. 

Andrea  di  Giusto,  Manner  of,  81. 

Andrea  del  Sarto,  191,  192, 193,  194, 
195,  196,  199,  201,  203,  204,  205. 

Andreas  de  Florentia.  (See  Andrea 
di  Giusto.) 

Angel  with  Hands  Crossed  on  Bosom 
[No.  77],  Fra  Paolino,  197. 

Angelico,  Fra  Giov.  da  Fiesole,  67,  79, 
80,  99,  102,  107. 

Annunciation,  The  [No.  21],  Niccolo 
di  Pietro  Gerini,  55. 


Annunciation,  The  [No.  40],  Giusto 
d ’Andrea,  101. 

Annunciation,  The  [No.  63],  Neroc- 
cio,  161. 

Annunciation,  The  [No.  Ill],  Italo- 
Byzantine  Painter,  265. 

Antonio  Veneziano,  51,  53,  62,  179, 
180. 

Arcangelo,  129. 

“Art  in  America,”  6,  9,  13,  18,  40, 
42,  44,  45,  46,  110,  156,  160. 

Artemisia,  Widow  of  Mausolus,  King 
of  Caria  [No.  104],  Artemisia  Gen- 
tileschi,  249. 

Assumption  of  the  Virgin  [No.  12], 
Luca  di  Tomme,  37. 

Badile,  Antonio,  241. 

Baldovinetti,  Alesso,  93,  107-110, 
125,  126,  139. 

Baptism  of  Christ  [No.  55],  Follower 
of  Lorenzo  di  Credi,  145. 

Baptism  of  Christ  [No.  93],  Sini- 
baldo  Ibi,  227. 

Barna  Senese,  37. 

Barocci,  194. 

Bartolo,  Andrea  di,  37,  38. 

Bartolo  di  Maestro  Fredi,  37,  38,  67, 

151. 

Bartolo,  Taddeo  di,  38,  157. 

Bartolommeo,  Fra,  185,  190,  191,  192, 
193,  197,  201,  221. 

Bartolommeo  di  Giovanni,  141,  142. 

Basaiti  Marco,  229. 

Bassano.  (See  Jacopo  da  Ponte.) 

Bastiani,  235. 


[ 283  ] 


INDEX 


Bazzi,  Giovanni  Antonio.  ( See  So- 
doma. ) 

Beccafumi,  Domenico,  221,  222. 

Beckerath,  von,  Collection,  116,  117. 

Bell,  Mrs.,  155. 

Bellini,  Giovanni,  229,  235. 

Bellini,  Jacopo,  168. 

Benvenuto  di  Giovanni,  163,  164, 
165,  166. 

Bergamasque  School,  232,  236. 

Berenson,  B.,  36,  38,  40,  69,  116,  117, 
128,  130,  131,  133,  134,  140,  141, 

142,  150,  152,  153,  154,  156,  158, 

159,  160,  162,  164,  166,  170,  173, 

176,  178,  181,  182,  187,  188,  190, 

192,  194,  199,  226,  238,  242. 

Berenson,  Mary  L.,  153,  154. 

Berlinghieri,  Barone,  3. 

Berlinghieri,  Berlinghiero,  3. 

Berlinghieri,  Bona ventura,  3-6,  18. 

Berlinghieri,  Marco,  3. 

Berlinghieri,  School  of,  17. 

Bernardo  d ’Antonio  Detti,  called  Sig- 
noraccio,  197. 

Bertucci,  Giovanni  Battista,  225, 
226. 

Bertucci,  Michele,  225. 

Bianca  Capello,  Portraits  of,  209. 

Bicci  di  Lorenzo,  79,  83,  99,  101. 

Bissolo,  Francesco,  229,  230. 

Blumenthal  Collection,  N.  Y.,  30. 

Bolognese  School,  251. 

Bonfigli,  175. 

Bordone,  Paris,  209. 

Boston  Museum  of  Fine  Arts,  38,  61, 
85,  92. 

Botticelli,  Sandro,  121,  129,  135,  136, 
149. 

Botticelli,  Pupil  of,  135,  136. 

Botticelli,  School  of,  132,  136. 

Botticini,  Francesco,  99,  103,  121- 
123,  137,  143. 


Breck  in  “Art  in  America,”  156,  160. 

Bronzino,  School  of,  209,  211-214. 

Brueghel,  Pieter,  271. 

Brunelleschi,  103. 

Brusasorei,  241. 

Buffalmaco,  97. 

“Burlington  Magazine,”  18,  23,  28, 
40,  44,  46,  56,  72,  73,  76,  77,  78,  80, 
85,  88,  89,  92,  117,  133,  141,  152, 
153,  154,  166,  173. 

Busi,  Giovanni.  ( See  Cariani.) 

Byzantine  Painter,  From  the  XIV 
Century,  259. 

Ca[g]liari,  Benedetto,  239,  240. 

Ca[g]liari,  Carlo  or  Carletto,  239. 

Ca[g]lia.ri,  Gabriele,  239. 

Ca[g]liari,  Paolo.  ( See  Veronese.) 

Calvaert,  Denis,  247. 

Cariani,  Giovanni,  231,  232. 

Carraci,  Agostino,  275. 

Carraci,  Annibale,  247. 

Carraci,  School  of,  247. 

Carrand  Triptych,  Mus.  Nazionale, 
Florence,  93,  95. 

Carrand  Triptych,  Master  of  the, 
93-96. 

Carrucci,  Jacopo.  ( See  Pontormo.) 

Casa  Buonarotti  Predella,  95,  96. 

Casa  Buonarotti  Predellas,  Master  of 
the,  162. 

Castagno,  Andrea  del,  97,  111. 

Castagno,  Follower  of,  97,  98. 

Catena,  229. 

Cavalcaselle,  53,  80,  113,  114,  152, 
153,  154,  156,  158,  159,  162,  164, 
166,  168,  170,  176,  178,  180. 

Cavallini,  Pietro,  56. 

Cecilia-Master,  The,  21. 

Central  Italian  Schools,  167-178,  223- 
228. 

Cesi,  Bartolommeo,  251. 


[ 284  ] 


INDEX 


Christ  and  the  Virgin  Enthroned,  At- 
tended by  Music-making  Angels 
[No.  19],  Giovanni  del  Biondo,  47. 

Christ  Bearing  the  Cross  [No.  89], 
Manner  of  Sodoma,  218. 

Christ  in  Glory  Appearing  to  St. 
Peter  and  St.  Paul  [No.  100], 
Paolo  Farinati,  241. 

Christ  on  the  Cross  [No.  54],  Lorenzo 
di  Credi,  143. 

Christ  on  the  Cross  [No.  56],  Filip- 
pino Lippi,  149. 

“Cicerone,  Der,”  110. 

Cima,  235. 

Cimabue,  4,  5,  17. 

Cinquecento,  183-242. 

Cione,  Andrea  di.  (See  Orcagna.) 

Cione,  Jacopo  di.  ( See  Jacopo.) 

Cione,  Nardo  di.  (See  Nardo.) 

Circumcision  of  Christ,  The  [No.  95], 
Giovanni  Cariani,  231. 

Clapp,  F.  M.,  200,  205,  213. 

Colasanti,  A.,  170. 

Cook,  Herbert,  117. 

Coppo  di  Marcoaldo,  8. 

Coronation  of  the  Virgin  [No.  60], 
Sano  di  Pietro,  157. 

Cotignola,  Girolamo  Marchesi  da,  223. 

Creation  of  Adam  and  Eve  (cassone) 
[No.  49],  Jacopo  del  Sellajo,  133. 

Cristofano  dell’Altissimo,  211,  215. 

Crowe  and  Cavalcaselle.  (See  Caval- 
caselle.) 

Crucifixion,  The  [No.  1],  Bonaven- 
tura  Berlinghieri,  3. 

Crucifixion,  The  [No.  2],  Guido  da 
Siena,  7. 

Crucifixion,  The  [No.  7],  Manner  of 
Bernardo  Daddi,  25. 

Crucifixion,  The  [No.  24],  Lorenzo 
Monaco,  67. 


Crucifixion,  The  [No.  51],  Pseudo- 
Verrocchio,  137. 

Crucifixion,  The  [No.  99],  Benedetto 
Ca[g]liari,  239. 

Cruttwell,  M.,  117. 

Daddi,  Bernardo,  21,  23. 

Daddi,  Bernardo,  In  the  Manner 
of,  25. 

Daele,  Simon  van,  269. 

Dante,  Portraits  of,  212,  213,  214. 

Dead  Christ  supported  by  Joseph  of 
Arimathea  [No.  80],  Sogliani,  201. 

Dead  Christ  supported  by  Joseph  of 
Arimathea  [No.  119],  Unknown 
Painter,  279. 

Delli,  Dello,  35,  84. 

Deposition  from  the  Cross  [No.  70], 
Lambertini,  179. 

Descent  from  the  Cross  [No.  1],  Bona- 
ventura  Berlinghieri,  3. 

Descent  of  Christ  into  Limbo  [No. 
113],  Italo-Byzantine  Painter,  266. 

Diamante,  Fra,  119,  120. 

Diptych,  small,  representing  the 
Madonna  and  the  Crucifixion  [No. 
10],  Follower  of  Duccio,  31. 

Domenichino,  249,  250. 

Donatello,  4,  5,  111. 

Dormition  of  the  Virgin  [No.  38], 
Follower  of  Andrea  del  Castagno, 
97. 

Dossi,  Dosso,  School  of,  237,  238. 

Douglas,  Langton,  80. 

Duccio  di  Buoninsegna,  31,  32.  33, 
35,  41. 

Duccio,  Follower  of,  31-33. 

Duegento,  1-18. 

Diirer,  Albrecht,  115,  116,  269,  270. 

Dutch  and  Flemish  Schools,  269-276. 


[ 285  ] 


INDEX 


Engelbrechtsz,  Cornelis,  271-272. 
Entombment,  The  [No.  8],  Taddeo 
Gaddi,  27. 

Farinati,  Paolo,  241,  242. 

Fei,  Paolo  di  Giovanni,  151,  155. 
Ferrarese  School,  237,  238. 

Filippo  di  Giuliano,  129. 

Fitzwilliam  Mus.,  Cambr.,  Engl.,  78, 
132. 

Fiorenzo  di  Lorenzo,  175,  176. 
Flemish  Painter  of  the  XVII  Cen- 
tury, 273. 

Flemish  Painter,  Latter  Part  of 
the  XVI  Century,  275. 
Florentine  Painter,  about  1440, 

83-85. 

Florentine  Painter,  about  1450, 
87,  89. 

Florentine  Painter,  about  1450 
(The  “Cassone  Master”),  91,  92. 
Florentine  School,  67-150,  185-216. 
Fontana,  Prospero,  251. 

Francesco  di  Giorgio,  161,  162,  163. 
Francesco  di  Giovanni.  (See  Botti- 

CINI. ) 

Francia,  Francesco,  186,  187,  226. 
Francia-Costa  School,  225,  226. 
Franciabigio,  195,  196,  203. 
Fumagalli,  49. 

Gaddi,  Agnolo,  51,  52,  53,  67,  69. 
Gaddi,  Taddeo,  22,  27,  28,  52,  56. 
Gaddi,  School  of,  63,  71. 

Garden  of  Love  [No.  67],  Follower  of 
Gentile  da  Fabriano,  171. 

Gardner  Collection,  Boston,  30. 
Gaye’s  “Carteggio,”  101. 

Genovese  Painter  from  the  Latter 
Part  of  the  XVII  Century,  255. 
Gentile  da  Fabriano,  167-170,  172, 
173. 


Gentile  da  Fabriano,  Follower  of, 
171-173. 

Gentileschi,  Arazio,  249. 

Gentileschi,  Artemisia,  249,  250. 
Gerini,  Niccolo  di  Pietro,  43,  55,  56, 
57,  59,  60,  61,  62,  63,  71,  73. 

Gerini,  School  of,  75. 

Ghiberti,  67. 

Ghirlandajo,  Davide,  131,  191. 
Ghirlandajo,  Domenico,  129,  134, 
139-140,  141,  142,  191,  215. 
Ghirlandajo,  Ridolfo,  187,  189,  190. 
Ghirlandajo,  School  of,  131,  191. 
Giolfino,  Niccolo,  241. 

Giorgione,  231,  232,  233. 

Giottino,  40,  44,  45. 

Giotto,  6,  21,  25,  27,  29,  30,  40,  68. 
Giotto,  Romagnole,  Follower  of, 
29,  30. 

Giovanni  del  Biondo,  47-49. 
Giovanni  di  Lutero.  ( See  Dosso 
Dossi. ) 

Giovanni  da  Milano,  47. 

Giovanni  di  Paolo,  155, 156,  159,  160. 
Giovanni  dal  Ponte,  62,  77,  78. 
Giovio  (Paolo),  Collection,  Como,  211, 
212,  214. 

Girolamo  di  Benvenuto,  165,  166. 
Girolamo  da  Cremona,  181,  182. 
Girolamo  del  Pacchia,  194,  217. 
Girolamo  da  Santa  Croce,  235,  236. 
Giuliano  da  Rimini,  30. 

Giulio  Romano,  241. 

Giunta  Pisano,  7. 

Giusto  d ’Andrea,  99,  101-105. 
Gozzoli,  Benozzo,  101,  102,  103,  119, 
175. 

Granacci,  Francesco,  189,  191,  192. 
Graziani,  Guido,  7. 

Guido  da  Siena,  7-9. 


[ 286  ] 


INDEX 


Hampton  Court  Collection,  238,  250. 

Head  of  the  Dead  Christ  [No.  114], 
Marinus  van  Roymerswaele,  269. 

History  of  Moses  [No.  113],  Italo- 
Byzantine  Painter,  266. 

Holbein,  Hans,  273. 

Holden  Collection,  Cleveland,  122. 

Holy  Family  [No.  101],  Follower  of 
Michelangelo,  245. 

Holy  Trinity  with  Four  Saints  in 
Adoration  [No.  18],  Jacopo  di 
Cione,  45. 

Horne,  Herbert  P.,  77,  149. 

Howarth,  J.,  112. 

Howland,  Bertha  M.,  116. 

Hiilsen,  Prof.  Ch.,  88. 

Ibi,  Sinibaldo,  227,  228. 

Incidents  from  the  History  of  iEneas 
and  Dido  (cassone)  [Nos.  34  and 
35],  Florentine  Painter  about  1450, 
87,  88. 

Italian  Painter  from  Latter  Part 
of  the  XVII  Century,  253. 

Italo-Byzantine  Painter,  Begin- 
ning of  the  XV  Century,  261. 

Italo-Byzantine  Painter,  Begin- 
ning of  the  XV  Century,  263. 

Italo-Byzantine  Painter,  XV  Cen- 
tury, 265,  266. 

Italo-Byzantine  Painter,  XV  Cen- 
tury, 266,  267. 

Italo-Byzantine  Schools,  259-267. 

Jacobsen,  162,  164,  166. 

Jacopo  d’ Antonio,  111. 

Jacopo  da  Casentino,  77,  78. 

Jacopo  di  Cione,  43-46,  55,  75. 

Jacopo  del  Sellajo,  127,  129-134. 

Johnson  (J.  G.)  Collection,  Philadel- 
phia, 93,  95,  128,  173,  223. 


Kenner,  Dr.,  212. 

Lambertini,  Michele  di  Matteo,  179, 
180. 

Late  Italian  Schools,  245-256. 

Lehman  Collection,  N.  Y.,  30. 

Leonardo  da  Vinci,  137,  143,  145,  185, 
186,  187,  193,  195,  196,  199,  204, 
217. 

Liberale  da  Verona,  181. 

Lippi,  Filippino,  114,  131,  149,  150. 

Lippi,  Fra  Filippo,  67,  101,  102,  103, 
104,  119,  120,  125,  126,  129,  149, 
175. 

Lippi,  Fra  Filippo,  Follower  of, 
119,  120. 

Litta,  210. 

Loeser  Collection,  Florence,  68. 

Logan,  Mary,  127. 

Lorenzetti,  Ambrogio,  21. 

Lorenzetti,  Pietro,  38. 

Lorenzetti,  School  of,  151. 

Lorenzo  di  Credi,  133,  137,  143,  144, 
145,  146,  147,  201. 

Lorenzo  di  Credi,  Follower  of,  145- 
147. 

Lorenzo  Monaco,  53,  57,  67-69 , 71, 
73,  75,  76,  79,  173. 

Lorenzo  di  Niccolo,  55,  71-73,  75. 

Love  Bound  by  Maidens  [No.  65], 
Girolamo  di  Benvenuto,  165. 

Lucas  van  Leiden,  271. 

Lucretia  [No.  82],  Vasari,  207. 

Madonna  [No.  66],  Gentile  da  Fa- 
briano, 167. 

Madonna  and  Child  [No.  75],  Andrea 
del  Sarto,  193. 

Madonna  and  Child  [No.  110],  Italo- 
Byzantine  Painter,  263. 

Madonna  and  Four  Saints  [No.  5], 
Deodato  Orlandi,  17. 


[ 287  ] 


INDEX 


Madonna  between  St.  John  the  Bap- 
tist and  St.  Mary  Magdalen  [No. 
94],  Francesco  Bissolo,  229. 

Madonna  Enthroned  between  St. 
Jerome  and  St.  Dominic  [No.  73], 
R.  Ghirlandajo,  189. 

Madonna  Enthroned  between  St. 
Peter  and  St.  Leonard  [No.  3], 
Margaritone  d’Arezzo,  11. 

Madonna  of  the  Pomegranate  [No. 
50],  Pupil  of  Botticelli,  135. 

Madonna  Seated  on  Clouds  [No.  46], 
Jacopo  del  Sellajo,  129. 

Madonna  Surrounded  by  Angels  and 
St.  Catherine  [No.  43],  Follower  of 
Fra  Filippo  Lippi,  119. 

Madonna  Surrounded  by  Four  Saints 
[No.  16],  Jacopo  di  Cione,  43. 

Madonna  with  the  Child  accompanied 
by  the  little  St.  John,  St.  Catherine 
and  San  Bernardino  of  Siena  [No. 
88],  Manner  of  Sodoma,  217. 

Madonna  with  the  Child  and  two 
Angels  [No.  64],  Benvenuto  di 
Giovanni,  163. 

Madonna  with  the  little  St.  John  and 
Four  Saints  [No.  92],  Bertucci, 
225. 

Malatesta,  Pandolfo,  167. 

Manni,  Giannicola,  228. 

Mantegna,  Andrea,  138,  181. 

Maratta,  Carlo,  253. 

Margaritone  d’Arezzo,,  11-13. 

Margaritone  d’Arezzo,  School  of, 
15. 

Marinus  van  Roymerswaele,  or  de 
Seeuw,  or  de  Siressa,  269,  270. 

Mariotto  di  Nardo,  57,  75,  76. 

Martini,  Simone,  35,  36,  37,  41. 

Martini,  Simone,  School  of,  37,  67. 

Martyrdom  of  a Bishop  [No.  62], 
Sano  di  Pietro,  159. 


Martyrdom  of  the  Theban  Legion 
[No.  79],  Copy  after  Pontormo, 
200. 

Marziale,  Marco,  229. 

Mater  Dolorosa  [No.  105],  Alessan- 
dro Tiarini,  251. 

Mather,  Frank  J.,  117. 

Masolino  da  Panicale,  53,  61,  62,  125, 
169. 

Masaccio,  62,  71,  78,  79,  92,  101,  108, 
139,  173. 

Massys,  Quinten,  269. 

Matteo  da  Siena,  163. 

Mcllhenny  Collection,  Philadelphia, 
62. 

Memmi,  Lippo,  35,  38. 

Metropolitan  Museum,  N.  Y.,  122,  125, 
126,  127,  128,  253. 

Mezzastris,  175. 

Michelangelo,  191,  193,  199,  204,  207, 
213,  221,  245. 

Michelangelo,  Follower  of,  245. 

Michelangelo,  School  of,  203. 

Milanesi,  7,  21,  57,  101. 

Miraculous  Apparition  of  St.  Mer- 
curius  and  St.  Catherine  [No.  112], 
Italo-Byzantine  Painter,  265. 

Morelli,  145. 

Morghen,  Raphael,  214. 

Muntz,  212. 

Miintz-Esseling,  166. 

Musaeum  Jovianum,  211,  212,  214. 

“Museo  di  Pittura  e Scultura  delle 
Gallerie  d’Europa,”  49. 

Naldini,  Battista,  203-206. 

Nardo  di  Cione,  75. 

Nativity,  The  [No.  71],  Girolamo  da 
Cremona,  181. 

Nativity,  The  [No.  109],  Italo-Byzan- 
tine Painter,  261. 


[ 288  ] 


INDEX 


Nativity  and  Resurrection  of  Christ, 
The  [No.  17],  Jacopo  di  Cione,  44. 

Neri  di  Bicci,  99,  100,  101,  103,  104, 
105,  119,  121. 

Neroccio,  161, 162. 

Non-Italian  Schools,  259-279. 

North  Italian  and  Venetian  Schools, 
229-242. 

North  Italian  Schools,  179-182. 

Nuzi,  Alegretto,  167,  169. 

Orcagna,  39-42,  43,  44,  45,  47,  48,  49. 

Oriental  Sash,  Master  of  the,  137. 

Orlandi,  Deodato,  17,  18. 

Pacchiarotto,  Girolamo,  221. 

Palma  Vecchio,  231. 

Palma  Vecchio,  School  of,  233. 

Panetti,  Dom,  237. 

Paolino,  Fra,  da  Pistoja,  197. 

Paolo  del  Signoraccio.  ( See  Fra 

Paolino  da  Pistoja.) 

Parmegianino,  241. 

Parry  Collection,  Highnam  Court,  85. 

Passignano,  251. 

Pellegrino  di  Mariano,  160. 

Penance  of  St.  Jerome  [No.  44], 
Francesco  Botticini,  121. 

Perkins  in  ‘ ‘ Rassegna  d ’Arte  Senese,  ’ ’ 
33,  36,  38,  69,  96,  152,  153,  154,  156, 
158,  159,  160,  162,  164,  166,  218, 
222. 

Perugino,  Pietro,  143,  227,  228,  279. 

Perugino-Pintoricchio  School,  225, 
226. 

Peruzzi,  217. 

Pesellino,  Francesco,  93,  96,  103,  125, 
126,  127,  128. 

Pesellino,  Follower  of,  125-128. 

Pesello,  Francesco,  93. 

Pieta  [No.  1],  Bonaventura  Berlin- 
ghieri,  3. 


Pieta  [No.  74],  Francesco  Granacci, 
191. 

Pier  Francesco  Fiorentino,  119. 

Piero  di  Cosimo,  132,  133,  134,  185- 
188,  193,  195,  196. 

Piero  della  Francesca,  177. 

Piero  Strozzi,  Portraits  of,  211,  212. 
Pierpont  Morgan  Collection,  N.  Y., 
126,  127,  128. 

Pintoricchio,  165,  226,  227. 

Platt  (D.  F.)  Collection,  Englewood, 
N.  J.,  8,  52. 

Pollajuolo,  Antonio,  111-117,  175, 
177. 

Pollajuolo,  Piero,  111,  115,  162. 
Ponte,  Jacopo  da,  211. 

Pontormo,  Copies  after,  199,  200, 
203,  205,  211,  213,  238. 

Portrait  of  a Lady  [No.  52],  Do- 
menico Ghirlandajo,  139. 

Portrait  of  a Lady  [No.  98],  School 
of  Dosso  Dossi,  237. 

Portrait  of  a Lady  Holding  a Rabbit 
[No.  72],  Piero  di  Cosimo,  185. 
Portrait  of  Amerigo  Vespucci  [No. 

86] ,  (Poss.)  Cristofano  dell’Altis- 
simo,  215. 

Portrait  of  a Military  Commander 
[No.  107],  Genovese  Painter,  255. 
Portrait  of  Bianca  Capello  [No.  83], 
Alessandro  Allori,  209. 

Portrait  of  Cosimo  I de’ Medici  [No. 

78],  Copy  after  Pontormo,  199. 
Portrait  of  Dante  [No.  85],  School  of 
Agnolo  Bronzino,  212. 

Portrait  of  Emp.  Charles  V [No. 

116],  Flemish  Painter,  273. 
Portrait  of  Fernando  Cortez  [No. 

87] ,  (Poss.)  Cristofano  dell’Altis- 
simo,  215. 

Portrait  of  Piero  Strozzi  [No.  84], 
School  of  Agnolo  Bronzino,  211. 


[ 289  ] 


INDEX 


Portrait  of  Pope  Clement  IX  [No. 
106],  Italian  Painter,  XVII  Cen- 
tury, 253. 

Predella  panel  representing  St. 
Michael  fighting  the  Demons,  and 
a Legendary  Subject  [No.  23], 
Manner  of  Spinello  Aretino,  63. 

Procession  to  Calvary,  The  [No.  115], 
Cornelis  Engelbrechtsz,  271. 

Puccio  Capanna,  45. 

Puligo,  201. 

Quaratesi  altar-piece,  169. 

Quattrocento,  65-182. 

Rankin,  Wm.,  88,  166,  173,  181;  in 
“Am.  Journal  of  Arch.,”  18,  23, 
33,  38,  40,  42,  44,  49,  73,  100,  105, 

110,  117,  120,  128,  130,  133,  136, 

150,  152,  158,  162,  164,  166,  170, 

173,  176,  178,  180,  182,  188,  190, 

194,  226,  230,  232,  236. 

Rape  of  Deianira  [No.  42],  Antonio 
Pollajuolo,  112. 

“Rassegna  d’Arte  Senese.”  (See 
Perkins.) 

Raphael,  143,  187,  189,  205,  221,  247, 
279. 

Raphael,  School  of,  223. 

Reni,  Guido,  247,  248,  249. 

Reni,  Guido,  Follower  of,  248. 

‘ ‘ Revue  de  1 ’Art  Ancien  et  Moderne,  ’ ’ 
166. 

Rico  da  Candia,  261. 

Rosselli,  Cosimo,  99,  103,  121,  122, 
129,  130,  185,  189. 

Rossello  di  Jacopo  Franchi,  61,  62. 

St.  Anthony  Tempted  by  the  Devil  in 
the  Shape  of  a Woman  [No.  57], 
Sassetta,  151. 


St.  Anthony  Tormented  by  Demons 
[No.  58],  Sassetta,  152. 

St.  Catherine  of  Siena  Pleading 
before  Pope  Gregory  XI  [No.  59], 
Giovanni  di  Paolo,  155. 

St.  Catherine  of  Siena  Swooning 
[No.  90],  Beccafumi,  221. 

St.  Francis  Receiving  the  Stigmata 
[No.  25],  Lorenzo  Monaco,  69. 

St.  Francis  Receiving  the  Stigmata 
[No.  44],  Francesco  Botticini,  121. 

St.  George  Killing  the  Dragon  [No. 
108],  Byzantine  Painter,  259. 

St.  Jerome  Doing  Penance  [No.  53], 
Bartolommeo  di  Giovanni,  141. 

St.  Jerome  Doing  Penance  [No.  68], 
Fiorenzo  di  Lorenzo,  175. 

St.  John  the  Baptist  [No.  14], 
Orcagna,  39. 

St.  Joseph  Holding  the  Infant  Christ 
[No.  103],  Follower  of  Guido  Reni, 
248. 

St.  Martin  Dividing  his  Mantle  with 
a Beggar  [No.  11],  Simone  Martini, 
35. 

St.  Michael,  St.  James  and  St.  Julian 
[No.  20],  Gherardo  Stamina,  51. 

St.  Nicholas  Throwing  Balls  of  Gold 
to  the  Daughters  of  the  Poor  Noble- 
man [No.  39],  Neri  di  Bicci,  99. 

St.  Peter  [No.  13],  Orcagna,  39. 

St.  Peter  [No.  97],  Girolamo  da  Santa 
Croce,  235. 

St.  Sebastian  [No.  47],  Jacopo  del 
Sellajo,  130. 

St.  Sebastian  [No.  91],  Girolamo  da 
Cotignola,  223. 

San  Giov.  Gualberto  and  his  Enemy 
before  the  Crucifix  in  San  Miniato 
al  Monte  [No.  30],  Giovanni  dal 
Ponte,  77. 

Sano  di  Pietro,  157-160. 


[ 290  ] 


INDEX 


Sassetta.  ( See  Stephano  di  Gio- 
vanni.) 

Scene  from  the  Infancy  of  a Saint 
[No.  41],  Alesso  Baldovinetti,  107. 

Scenes  from  the  Legend  of  Sts.  Cosmo 
and  Damian  [No.  29],  Mariotto  di 
Nardo,  75. 

Scenes  from  the  Life  of  a Holy 
Hermit  [No.  37],  Master  of  the 
Carrand  Triptych,  93. 

Schubring,  Prof.  P.,  84,  85,  89,  92. 

Sebastiano  del  Piombo,  237,  238. 

Seicento,  243-256. 

Sienese  School,  151-166,  217-222. 

Signoraccio.  (See  Bernardo  d ’An- 
tonio Detti.) 

Signorelli,  Luca,  177,  178. 

Sinibaldo,  Ibi.  (See  Ibi.) 

Siren,  28,  40,  44,  69. 

Smith,  Hammond,  113,  168,  169. 

Sodoma,  217-219,  221. 

Sodoma,  Manner  of,  217-219. 

Sogliani,  Giovan  Antonio,  201,  202. 

Spagna,  Giovanni  lo,  225,  226. 

Spanish  Painter,  Second  Half  of 
XVII  Century,  277. 

Spanzotti,  Martino,  217. 

Spinello,  Aretino,  25,  55,  63,  64,  71. 

Spinello,  In  the  Manner  of,  63,  64. 

Squarcione,  Francesco,  181,  182. 

Starnina,  Gherardo,  51-53. 

Stephano  di  Giovanni,  called  Sas- 
setta, 151-154,  155,  157. 

Stockholm  National  Museum,  94,  114, 
123. 

Suida,  W.,  153. 

Taddeo  di  Bartolo.  (See  Bartolo.) 

Tagliacci,  Nicolo  di  Ser  Sozzo  di,  38. 

Three  Archangels,  The  [No.  76], 
Franciabigio,  195. 


Three  Saints:  St.  Zenobio,  St.  Fran- 
cis and  St.  Anthony  [No.  31], 
Andrea  di  Giusto,  79. 

Tiarini,  Alessandro,  251. 

Tikkanen,  Prof.  J.  J.,  264. 

Tintoretto,  241. 

Titian,  237,  275. 

Tommaso.  (See  Follower  of  Lorenzo 
di  Credi.) 

Tommaso  di  Stephano,  145. 

Tomme,  Luca  di,  37,  38. 

Torbido,  Francesco,  241. 

Tournament  in  the  Piazza  Santa 
Croce,  Florence  (cassone)  [No. 
33],  Florentine  Painter  about  1440, 
83. 

Transfiguration,  The  [No.  113],  Italo- 
Byzantine  Painter,  XV  Century, 
266. 

Trecento,  19-64. 

Triptych,  Small  [No.  4],  School  of 
Margaritone  d ’Arezzo,  15. 

Triptych,  Small  [No.  9],  Follower  of 
Giotto,  29. 

Triptych  [No.  26],  Lorenzo  di  Nic- 
colo,  71. 

Triptych  representing  the  Madonna 
with  Four  Saints  [No.  22],  Am- 
brogio  di  Baldese,  58. 

Tuscan  Schools  (Florence,  Siena), 
21-64. 

Tuscan  Schools  (Lucca,  Florence, 
Pisa,  Siena,  Arezzo),  3-18. 

Uccello,  Paolo,  83,  84,  87,  88,  92,  93, 
94,  96,  107. 

Unknown  Painter,  about  the 
Middle  of  the  XIX  Century,  279. 

Valentiner,  W.,  269. 

Vanni,  Andrea,  151. 


[ 291  ] 


INDEX 


Vasari,  Georgio,  11,  27,  37,  51,  52, 
77,  78,  101,  145,  185,  203,  207,  213. 

Veechietta,  Lorenzo,  161,  162,  163. 

Velasquez,  Diego,  255. 

Venal  Love  [No.  117],  Flemish 
Painter,  Latter  Part  of  XVI  Cen- 
tury, 275. 

Venetian  Nobleman  and  Two  Women 
[No.  96],  Venetian  Painter  about 
1510,  233. 

Venetian  Painter  about  1510,  233. 

Veneziano,  Domenico,  93,  99,  107,  109. 

Venturi,  “Storia  dell ’Arte,”  91,  137. 

Venus,  Juno  and  Minerva  with  Cupid 
[No.  102],  Guido  Reni,  247. 

Venusti,  Marcello,  245. 

Veronese,  Paolo,  239,  240,  241. 

Verrocchio,  Andrea  del,  121,  137,  138, 
139,  143,  145,  146,  175. 


Verrocchio,  School  of,  144. 

Verrocchio  (Pseudo-),  137,  138. 

Virgin  Adoring  the  Christ  Child 
[No.  45],  Follower  of  Francesco 
Pesellino,  125. 

Virgin  in  the  Egg  Adored  by  Two 
Saints  [No.  118],  Spanish  Painter, 
277. 

Vision  of  St.  Dominic  [No.  6],  Ber- 
nardo Daddi,  22. 

Visit  of  the  Queen  of  Sheba  to  Solo- 
mon (cassone)  [No.  36],  Floren- 
tine Painter  about  1450,  91. 

Weir,  Professor,  116. 

Weisbach,  Dr.,  93,  96,  126. 

Zaganelli,  Francesco,  223. 


ERRATA 

Page  38;  line  5.  For  Jerkes  read  Yerkes. 

Halftone  facing  page  114,  third  line  of  title.  For  Beckeraht  read 
Beckerath. 


[ 292  ] 


I 


GETTY  CENTER  LIBRARY  MAIN 

N 590  S5  BKS 

c.  1 Yale  University.  Art 

A descriptive  catalogue  of  the  pictures 


3 3125  00215  8042 


